the new orleans center for music exploration

Spring 2012W. Hunter Hanahan

The New Orleans

Center for Music Exploration

Table of Contents

A City Like No Other Mission Program Context Precedent Study Schematic Design Design Development Final Documentation

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My New Orleans ExperienceA City Like No Other

I tried to be inconspicuous as I peered down the thin walkway between the two double shotgun houses. As soon as I drew my camera for a classic tourist shot, a woman walked out of the front door. I struck up a conversation as attempt to avoid any awkwardness. I complimented the brilliant yellow color and the traditional ornate detailing around her porch. To this she politely responded, Thank you. Its actually not yellow, its chartreuse.

It was at this point that I began to realize that people of New Orleans are more than proud of their identity. They love their city and the architecture that comes along with it. They love their original approach to cuisine. They love their rich musical history and claiming Jazz as their own. They love all of this and more, but it is New Orleans as a whole that they love the most because it is their own.

The City & The StreetThe street in New Orleans is a different place than in other cities. It is a place for everyone and everything, sometimes even cars. Porches butt against the sidewalk, holding nothing back. Balconies overlook the goings-on down below in a semi-private manner. Parades and brass bands flow into the street as if it was paved for them. The street is more of a place to be than a means of conveyance and the idea of the street is almost a psychological state that serves as a connection between the residents of New Orleans.

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The compact city layout brings people close in almost the sense where you have no choice but to be social and get to know one another. The long, thin typology of the shotgun house is an interesting thing. It developed as a response to the citys need to expand in a manner that would allow them to efficiently develop the land above sea level. The front faade speaks to the street; it invites it in for dinner. It almost presents itself to the street, as if to add a recognizable, rhythmic backdrop. It is almost theater-like. This environment has such a presence throughout the city that even the graveyards have long, thin (above-ground) tombs arranged in a compact manner with a small porch on the front. Even in death, the shotgun house lives on.

During my trip to New Orleans I experienced a challenge to this traditional way of building. Hurricane Katrina, which hit New Orleans in August of 2005, changed the way many people now think about the way the city evolved. How could a city be built in a location where half of the land is below sea level? As a response to Hurricane Katrina came the Make It Right Foundation, an organization which is currently rebuilding the hardest hit area of New Orleans, the Lower Ninth Ward. Many of the houses, which are designed by national and international architects, aim to solve the problem by constructing new homes on stilts, removed from the threat of flooding. Unfortunately this also completely removes that powerful New Orleans connection between a home and the street. In the end, one cannot complain about what Make It Right is doing, because they are helping people move back into homes after they were destroyed. But one can only hope that such an architectural precedent doesnt actually harm this social part of the New Orleans culture.

Its actually not yellow, its chartreuse.

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Music & The StreetMy trip to New Orleans focused on studying the site for my design studio project. But as every architect knows, one must understand the greater context before he or she can understand the site. Our trip coincided with Krewe du Vieux, the first parade of Mardi Gras and a notoriously satirical one. As people took over the streets, the parade marched down the street and through the crowds. Each sub-krewe, roughly 20 total, consisted of 10-20 people dressed in their interpretation of that years theme and each sub-krewe was separated from the next by a classic New Orleans brass band. They set the pace for the parade and were the glue holding together this mile long sea of craziness. I found the bands to be my favorite part. As soon as the blaring trumpets of one faded into the distance I could hear the booming tuba of the next. The combination just seemed too perfect: music and street.

Though I was unable to experience another musical procession in New Orleans, I found the lively sounds of Jazz throughout the city pouring out of bars and restaurants. At Vaughns in the Bywater district, neither the music of Kermit Ruffins nor the people were contained by the bar. It was almost as if the street was a casual extension of the interior. I found the same to be true as I explored the French Quarter during our stay. Music, Cajun smells and people all flowed in and out of buildings. It was a truly remarkable experience.

As soon as the blaring trumpets of one faded into the distance I could hear the booming tuba of the next.

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Addressing Sunlight The architecture of New Orleans is something that is unavoidable. There are many styles and approaches to building, but dealing with the weather, especially the heat, is the common thread. While visiting Tulane University, we listened to a lecture by Scott Bernard, a professor in the architecture department. He gave a great talk about where New Orleans came from and where its going. I found one thing he said particularly interesting. He said that the traditional New Orleans way to address sunlight is in layers, before it hits the building envelope. Throughout the rest of the trip I witnessed many examples of what he was talking about, including galleries, attics and sun shading devices. All of these techniques allowed people to stay cool over a century before the advent of electricity and air conditioning.

During the trip I experienced some of what I expected, but it was the unexpected that remains fresh in my mind. The power and presence of music throughout the town and in the streets made a strong impact on me. The atmosphere created by this, I believe, is a strong cornerstone to their culture. It is no wonder why people of New Orleans are so proud of their city. They have something great and they know it.

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Studio ObjectiveMission StatementUsers

A City Like No Other

ProgramContextPrecedent StudySchematic DesignDesign Development Final Documentation

Mission

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This semester will focus upon the design of the New Or-leans Center for Documentary Studies (NO Center). It is imagined as associated with the New Orleans commu-nity, drawing upon neighborhood and university writers and artists to create portraits of the people and places of New Orleans. Its mission is to teach, engage and pres-ent documentary work grounded in collaborative part-nerships and extended fieldwork that uses photography, film/video, audio and narrative writing to capture and convey contemporary memory, life and culture. Through writing, interviews, audio / photographic / film record-ings, the work is developed and edited, ultimately broad-casted or exhibited, and archived. NO Center promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engender-ing respect among individuals, breaking down barriers to understanding and illuminating social justices.

NO Center also sees part of its mission as collecting and preserving the audio-visual heritage of New Orleans and making it available to as many users as possible. The institutes collections form an important part of the New Orleans cultural heritage. The archive is a unique source of information for research, not only for students and academics, but also for journalists, international production companies and broadcasting organizations. New material is added to the collection on a daily basis. Digitalization is an essential part of this preservation, both for efficient longterm management and for making the collection accessible.

ARCH 609 Studio ObjectiveMission

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The mission of this project is to establish a place that is dedicated to teaching people about the cultural influence of street music on New Orleans. Just as New Orleans is a complex, multi-sensory experience, the Center works to teach, nurture and document through multiple types of visual and auditory media, including music instruction and live performance; documentary filmmaking and radio production. The Center aims to establish relationships predominantly with middle and high schools throughout New Orleans.

Mission StatementMission

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Radio

Film

Music

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The primary purpose of this building is to teach students about the street music movement that is so iconic to their city of New Orleans. It is a place where they can learn to play an instrument or form a band and perform for others. They can use the radio station as a way to display their work and learn about

the radio process at the same time. If playing music is not their interest, they can learn about documentary filmmaking and use the musical setting around them and throughout New Orleans as subject matter. Ultimately it is a place where students can learn an art and build a sense of pride and accomplishment within themselves.

High School & Middle School StudentsArtistic Discipline

UsersMission

Local Radio

Documentary Film

Street Music

Middle & High School Students

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Instructor

NOVAC Tax incentives in Louisiana have created a burgeoning film scene, second only to California and New York. The Center will link with the firmly-rooted NOVAC to sup-ply instructors and other resources for documentary filmmaking. Films will be edited on-site, but travelling throughout the city to document will be expected. Films can be sold in the Center store.

MusicianCorps MusicianCorps, part of The Center for Music National Service, is a program which places musicians in full-time teaching positions at schools, youth centers and other community-based settings. This would be the primary source for music teachers.

Radio Station Staff As part of the responsibilities of the radio station staff, they will be required to also teach classes. Classes will include instruction in radio documentaries, sound re-cording/editing, radio show hosting and station management. The station itself is an opportunity to display any work done by students.

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Space BudgetOperating ScheduleProgram AdjacenciesSpace Descriptions

A City Like No OtherMission

ContextPrecedent StudySchematic DesignDesign Development Final Documentation

Program

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Space BudgetProgram

Office x4 Staff Lounge/KitchenStaff Meeting Room

407 281185

1.251.61.25

509 450231

Administrative

13,233 NSF 19,154 GSFTotal

69%Building Efficiency

A/V Equip. & Instrument StorageData Server/IT Flexible Theater SupportConcessions/Catering KitchenDowntime/Study Space

575233885194328

1.251.251.251.251.25

7192911,106243410

Support/IT

Technology Equipment RoomProduction Rooms x2Station Managers OfficeBroadcast BoothMedia StorageReception

10918914322410271

1.651.651.251.651.251.25

18031217937012889

Radio Station

Control/Post-Production RoomRecording/Instruction

5201,037

1.651.65

858 1,711

Recording/Instruction

Corner Square Lobby/Gallery Reception/Store/Box OfficeCourtyardFlexible Theater (Indoor)Flexible Theater (Outdoor)Street Recording Kiosk

-1,734347-1,875-79

-1.5 1.25-2.4-1.65

1,1162,6014341,5274,5001,062130

Public Spaces

NSFGrossingFactor GSFUse

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Daily

Yearly

Operating Schedule

Radio Station

9am 12pm 3pm 6pm 9pm 12pm

Daily Classes

Private Parties

Seasonal Events & Festivals

Lectures, Films & Live Concerts

Weekend Classes

Recording Space Rental

3am 6am

ClosedOpen for

Events OnlyOpen to Public Janu

ary

Febr

uary

Mar

ch

Apr

il

May

June

July

Aug

ust

Sep

tem

ber

Oct

ober

Nov

embe

r

Dec

embe

r

Annual Events

Student Work Exhibitions

Summer Sessions Classes

Semester Session Classes

Gallery Exhibitions

Lectures & Musical Guests

Daily Operating Schedule Annual Operating Schedule

Radio Station

9am 12pm 3pm 6pm 9pm 12pm

Daily Classes

Private Parties

Seasonal Events & Festivals

Lectures, Films & Live Concerts

Weekend Classes

Recording Space Rental

3am 6am

ClosedOpen for

Events OnlyOpen to Public Janu

ary

Febr

uary

Mar

ch

Apr

il

May

June

July

Aug

ust

Sep

tem

ber

Oct

ober

Nov

embe

r

Dec

embe

r

Annual Events

Student Work Exhibitions

Summer Sessions Classes

Semester Session Classes

Gallery Exhibitions

Lectures & Musical Guests

Daily Operating Schedule Annual Operating Schedule

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The program for this design is rather complex for its relatively small size. There are numerous types of programmatic spaces that require a specific relationship to another, often due to sound isolation, convenience, security or other special requirements. The outdoor space component of the program adds another level of complexity, as the major concept for the project is to make a strong connection between the indoors and outdoors for each space. The diagram to the right describes the importance of the relationship to the public street for a majority of the spaces.

Program AdjacenciesProgram

Adm

inistrativeO

ffices

Staff

Meeting

Room

Data

Server/IT

Staff

Lounge/K

itchen

Recording/

Instruction

A/V Equipment

Storage

Control/

Post-Production

500 SF

250 SF

125 SF

1000 SF

2000 SF

Public Spaces

Radio Station

Administrative

Support/IT

Recording / Instruction

Physically Adjacent

Visually Connected

Lobby / GalleryPublic Street

Courtyard

Entrance Piazza

Concessions / Catering Kitchen

Reception/ Box Office/

Store

Reception space, office, 2 production

spaces, media library, technology equipment room

BroadcastBooth

Street Recording

Kiosk

IndoorTheaterSpace

OutdoorTheaterSpace

Flexible Theater Support

EquipmentLoading

Access Area

Radio Station

Flexible Theater

Downtime &

Study Space

21

1

1

111

1

11

1

2

2

2

Radio Station

Public Spaces

Administrative

Support/IT


Outdoor Spaces

Physically Adjacent

Visually Connected

Adm

inistrativeO

ffices

Staff

Meeting

Room

Data

Server/IT

Staff

Lounge/K

itchen

Recording/

Instruction

A/V Equipment

Storage

Control/

Post-Production

500 SF

250 SF

125 SF

1000 SF

2000 SF

Public Spaces

Radio Station

Administrative

Support/IT


Physically Adjacent

Visually Connected


Courtyard

Entrance Piazza



Store



BroadcastBooth

Street Recording

Kiosk

IndoorTheaterSpace

OutdoorTheaterSpace


EquipmentLoading

Access Area

Radio Station

Flexible Theater

Downtime &

Study Space

21

1

1

111

1

11

1

2

2

2

125 SF

250 SF

500 SF

1000 SF

2000 SF

20

Adm

inistrativeO

ffices

Staff

Meeting

Room

Data

Server/IT

Staff

Lounge/K

itchen

Recording/

Instruction

A/V Equipment

Storage

Control/

Post-Production

500 SF

250 SF

125 SF

1000 SF

2000 SF

Public Spaces

Radio Station

Administrative

Support/IT


Physically Adjacent

Visually Connected


Courtyard

Entrance Piazza



Store



BroadcastBooth

Street Recording

Kiosk

IndoorTheaterSpace

OutdoorTheaterSpace


EquipmentLoading

Access Area

Radio Station

Flexible Theater

Downtime &

Study Space

21

1

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11

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Recording/ Instruction

A/V EquipmentStorage

Control/Post-Production

500 SF

250 SF

125 SF

1000 SF

2000 SF

Public Spaces

Radio Station

Administrative

Support/IT


Physically Adjacent

Visually Connected

Lobby / Gallery

Public Street

Courtyard

Entrance

Piazza

Concessions /

Catering

Kitchen

Reception/

Box Office/

Store

Reception space,

office, 2 production

spaces, media

library, technology

equipment room

Broadcast

Booth

Street

Recording

Kiosk

Indoor

Theater

Space

Outdoor

Theater

Space

Flexible

Theater

Support

Equipment

Loading

Access Area

Radio Station

Flexible The

ater

Downtime & Study Space

2

1

1

1

1 1 1

1

1

1

1

2

2

2

AdministrativeOffices

Staff MeetingRoom

Data Server/IT

Staff Lounge/Kitchen

Recording/

Instruction

A/V

Equipm

entS

torage

Control/

Post-P

roduction

500

SF

250

SF

125

SF

1000

SF

2000

SF

Pub

lic S

pace

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21

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2 2 2

21

Public Spaces

Spatial Experiential

Reception/Store/Box Office

This will be the first point of contact for visitors or people attending ticketed events. This booth also serves as a place to sell both the productions of The Center (documentaries, music albums) and other local works, both of which will serve as sources of additional revenue.

347 SF18x20x10.5 (H)

Lobby/Gallery A daylit space that is highly visible from the adjacent sidewalk. It comfortably accepts the flow of movement from the square and evokes a sense of calm immediately upon entering. The lobby portion serves as a table of contents for the building, allowing people to quickly and clearly comprehend the programmatic layout for the Center. The gallery has softly defined spaces, such as a film view area and music listening stations, creating a dynamic environment.

1,734 SF73x30x10.5 (H)

Courtyard The courtyard is a second degree exten-sion of the street after the corner square. The two are linked by exterior walkways for a porous connection, which can be secured at night. This is a more private space than the corner square and will be used for music lessons and concerts; con-gregating during events; and circulation. The design intent is to establish a visual connection from programmed spaces to the Courtyard to reinforce the connection to the outdoors/street.

1,527 SF40x37x30 (H)

Vertical dimension stretches up to overhead shading device

Corner Square The intention is for this to serve as a transitional space between the raw street and the Center. A person should feel comfortable in this eddy from the flow of the street. The Corner Square is a place where informal music performances are encouraged. Acoustical clouds hang above to direct sound into the streets. The square is an open semi-private area, creating a soft corner at the Magazine St. and Richard St. intersection.

1,116 SF37 x 31 x 30 (H)

Vertical dimension stretches up to acoustical clouds and overhead shading device.

Program

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Physical

The box office, located within the Lobby/Gallery space, is easily visible to pedestri-ans walking through the door, potentially for the first time.

The space requires floor to ceiling glazing to achieve the level of transparency called for by the design. This is a space where people can loosely wander around within during the day or at night during a private event.

The Courtyard sits central in the site and is surrounded by programmed space. Overhead shading devices match those over the Corner Square and Flexible The-ater (outdoor) space will moderate sun exposure. A Big Ass fan mounted to the overhead shading device accelerates the rise of hot air and draws in surrounding air through the breezeways.

The square is mostly hardscape but in keeping with the New Orleans plant life there is some subtle, native vegetation. A double-height awning over the square moderates sunlight, but without losing the outdoor experience. Seating will be in the form of built-in, monolithic benches that encourage pedestrians to sit a moment.

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Public Spaces continued


Street Recording Kiosk

The function of this kiosk is for pedestri-ans to be able to stop in and record (video and/or audio) a story, song, thought, rant, rap, etc. A weekly topic for discussion will be posted to facilitate useful recordings, which can then be played on the radio. This lets the average person walking down the street have his or her voice heard.

79 SF9 x 9 x 8

Flexible Theater (outdoor)

The concept is for the Flexible Theater to exist as one space separated into indoor and outdoor components.

1,062 SF47x21x30 (H)

Vertical dimension stretches up to acoustical clouds and overhead shading device.

Flexible Theater (indoor)

This could be considered the heartbeat of the Center. This flexible, double-height, 100 person capacity space will be where people gather to experience live musical performances; music classes and les-sons; films; visiting lecturers; discussions; exhibitions and public/private events. It will be of a blackbox typology, but with less focus on dramatic performance.

1,875 SF50 x 40 x 27 (H) (18 to grid)

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Physical

This is located adjacent to the Lobby/Gallery at street level and highly visible. The booth is just large enough for a small group to perform. The door will automati-cally lock in accordance with the Centers hours of operation.

This outdoor space will lie between the indoor Flexible Theater and the street. The two spaces are physically connected by means of large, transparent bay doors. This will facilitate a larger event/concert viewing area and also reinforces the po-rosity of space flowing from the street.

Large bay doors at the front and side of the space open up to the Flexible Theater (outdoor). These doors and the clerestory windows at the top of the theater will allow ample daylight, which can be moderated (or eliminated) by motorized screens/shields. A rectangular shape (roughly a 3:4 ratio) is most appropriate since the audience will typically focus on a singular entity (i.e. band, person or screen).

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Radio Station



Control/Post-Production

These spaces are designed for digital (computer based) editing of visual and auditory media after it has been recorded. They are located adjacent to the Recording / Individual Instruction Spaces, since much of the media will be recorded there. Two Recording/Instruction rooms share a Control/Post-Production room.

520 SF (3 rooms)14x11.5x9 (H)

Radio Station This will be a small radio station that broadcasts no further than the greater New Orleans area. To establish a direct link between the radio station and the street environment, the broadcast room will be located adjacent to the street in a high visibility location. It is a teaching ra-dio station and all staff are also expected to instruct those enrolled at the Center in the areas of radio documentaries, sound recording/editing, radio show hosting and station management. Work produced by students will comprise a portion of the daily programming as a way to display students work.

900 SF total


These are multipurpose rooms for recording music, giving music lessons and conducting audio and/or video interviews.

1,037 SF total (5 rooms)14.5x11.5x9 (H)

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Physical

Glass windows between the recording and control spaces allow a clear line of sight during recording. Sound isolation is important for these rooms. All are built with double stud walls and on sound isolators in order to reduce noise from room to room.

Sightlines are a priority between spaces in the Radio Station. A compact layout helps facilitate this. Eliminating street noise in the broadcast booth is a high priority since it sits adjacent to the street. All rooms are built with double stud walls and on sound isolators in order to reduce noise from room to room.

Interior glass separates each space from an adjacent post-production/editing room. These spaces are partially daylight. Sound isolation is important for these rooms. All are built with double stud walls and on sound isolators in order to reduce noise from room to room.

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A/V Equipment & Instrument Storage

575 SF25x22x12 (H)

This space will serve as storage for all portable audio/video equipment and instruments for music lessons. This includes still cameras, video cameras, musical instruments, sound recording equipment, lights, tripods, etc. This does not include equipment that is dedicated for the flexible theater. The temperature and humidity in this space must be regu-lated to prevent damage to equipment.

Data Server / IT Room

233 SF15x15x12 (H)

This room will house all network hardware and data storage servers. This is pur-posely located away from public spaces and on the 2nd floor, as security and any potential flooding is a concern. The temperature and humidity in this space must be regulated to prevent damage to equipment.


885 SF total

These support spaces include a prep room for any visiting musicians or lectur-ers, a sound booth that overlooks the Flexible Theater and general storage for lights, chairs and staging.

Spatial Experiential/Physical

Downtime & Study Space

328 SF20x16.5x10.5 (H)

With students coming and going from classes and lessons, there will inevita-bly be some downtime before, after or in between. This space is dedicated to providing them with a comfortable space to study, work at a computer or relax. Fur-nishings include desks, couches, a large table and computers.

Concessions/Catering Kitchen

194 SF15.5x12.5x10.5 (H)

This space doubles as concessions for small music, film, lecture and cultural events and as a catering kitchen for large events. The kitchen features a double sink, countertop space, cabinets, a refrigerator, a dishwasher and a warm-ing oven, but no stove or conventional oven. An interior window that opens up to public space will serve as a place to sell concessions.

Support/IT

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Offices 380 SF total (4 offices) These are at least 8x8 and are located away from public access on the 2nd floor. There is an office for the Center director, education/outreach coordinator, building manager and visiting instructor.

Staff Lounge/Kitchen

281 SF22x13x10.5

This is a space with a comfortable environment for staff members to take a break to eat and/or relax. There will be two semi-defined areas within: an area for sitting with couches and a kitchen. Large windows visually connect this space with the outdoor environment.

Staff Meeting Room

185 SF14x13x10.5

This is a general use room that is avail-able for staff to reserve at any time. It is also where any staff meetings or other meetings are held.

Administrative

Spatial Experiential/Physical

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Magazine StreetThe ElementsContextual Analysis

A City Like No OtherMissionProgram

Precedent StudySchematic DesignDesign Development Final Documentation

Context

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Magazine StreetContext

New Orleans presents an exciting location for a place where people can explore and celebrate the powerful influence of music. The project site is located in the Lower Garden District at the eastern end of Magazine Street, a commercial area which has become known for its arts galleries, crafts, antiques and food. Though it has become more affluent since its early days as a warehousing district, the Magazine Street area surrounding the site remains a mixture of demographics and land uses. The area southeast of the site quickly turns industrial and stretches to the rail line adjacent to the river. The area north of the site is predominantly residential, but with houses on a smaller scale than the mansions for which the Garden District is commonly known. Residential use also extends east until the commercial downtown district begins at the elevated highway. South of the site, just two blocks off of Magazine Street, lies eight blocks of relatively new public housing. With such diversity anchored by a strong commercial district along Magazine Street, the project site sits in an ideal location for regular pedestrian traffic throughout the day.

1. French Quarter2. Marginy3. Bywater4. Upper Ninth Ward5. Lower Ninth Ward6. Gentilly7. Treme8. Downtown9. MidCity10. Garden District11. Uptown12. Tulane University13. Metarie14. Algiers

1 2 3

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Philip S t

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St Mary S

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Orange St

Celeste St

Site

District

Magazine St.

Mississipp

i River

Jackson Ave.Louisiana Ave.

St. Charles Ave.

Site90

33

Mag

azin

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Richard St.

Orange St.

Felicity St.

Cam

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0 50 100

B

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34

Section thru Magazine St. Facing E 1/32 = 1-0

Section thru Camp St. Facing W 1/32 = 1-0

B

Section thru Magazine St. Facing E 1/32 = 1-0

Section thru Camp St. Facing W 1/32 = 1-0 AThe residential area to the northwest of the site quickly changes gears from its surroundings. Old growth trees are much more abundant and the sidewalks shrink down to roughly 5 for a more intimate setting. Vehicular traffic moves at a slower rate and pedestrians are less destination driven versus those on Magazine Street.

The commercial district of Magazine Street begins at the south end of the site. Wide open sidewalks and open lots quickly turn to brick facades with galleries extending out over the sidewalk. This section of Magazine Street represents a vibrant cornerstone that ensures pedestrian traffic past the site on a regular basis.

Residential

Commercial

35

Mag

azin

e St

Richard St.

Orange St.

Felicity St.

Cam

p St

.

Has

tings

Pl.

0 50 100C

D

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A view across Magazine Street showing the flower shop to the south and an open adjacent lot to the north.

Site Section Facing NE 1/32 = 1-0

Site Section Facing NE 1/16 = 1-0

CSite

Site Section Facing W 1/32 = 1-0

Site Section Facing W 1/16 = 1-0

DSite

This view describes the relationship of the site to the existing built environment across Magazine St. and Richard St.

Magazine Street Site

37

6am 9am

June

21s

tD

ecem

ber 2

1st

Heat, Rain & (No) Wind

Sunlight Exposure

The New Orleans climate is notoriously harsh during the warmer months, especially the summer, with the temperatures often over 100 degrees. In addition, the humidity is typically high due to the 60+ of annual rain, making the heat that much more intense. Though some areas of town occasionally feel a breeze, most are left with fairly stagnant air.

The site sits fairly exposed to the sun throughout the day. There are no surrounding buildings or existing vegetation that can help block the sun.

The ElementsContext

4540 F

20 F

0 F

60 F

80 F

100 F

48

54

61

6974 76 76

72

63

55

48

65

73

81

89939391

87

80

73

6763

JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC

2 in

4 in

6 in

8 in

10 in

12 in

JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC

4.904.71 4.74

4.354.42

7.14

7.94

6.205.80

3.794.11

4.34

Average Monthly Temperatures

Average Monthly Rainfall

38

12pm 3pm 6pm

Passive Cooling

Since staying cool has been a concern in New Orleans far longer than there has been air conditioning, the people there have developed many passive cooling techniques over the years. One is to address sunlight prior to it hitting the envelope by the use of galleries, attics and other shading devices. Shade is also available from large trees and other vegetation, which also offers a natural cooling effect through evapotranspiration. Since there are few natural breezes within New Orleans, fans are also common.

39

Horizontal Elements

Cornices, balconies, galleries, railings

Vertical Elements

Columns

Windows, doorsB

C

A

A

AA

Vertical & Horizontal TypologyWhile exploring the areas around the site, I began to notice a pattern of forms that linked the many different building types. The functional need for horizontal galleries and vertical columns establishes an interesting play of forms that fluctuates from rigid to fragmented.

Contextual AnalysisContext

40

Magazine Street (Adjacent to site)In a sense, the patterning from commercial Magazine Street is repeated here, but building forms break apart creating more individual identity.

Camp StreetIn a strong departure from commercial Magazine street, the forms in this area are very loose and wandering, with less cohesiveness.

Magazine Street (Commercial)Continuous, unbroken rhythm that runs from one end of the block to the other. Windows formulate a strong part of the vertical emphasis.

B

C

A

41

Public & Private Space RelationshipsBecause the street and outdoors are so engrained within the New Orleans typology, all buildings address the street in one manner or another. The transition zone between public and private space is the social glue that binds the two together.

Pri

vate

Tran

siti

on

Pub

lic

42

This example is the most intimate connection between public and private. The 2nd floor of the building reaches almost flush with the edge of the street, while the pedestrian is enclosed by a 11-5 ceiling above.

In this situation, the 2nd floor balcony extends over the sidewalk to the street. The intimacy is not as strong because the pedestrian is aware that the covering overhead is a balcony, not a full interior space, and the height increases to roughly 14.

This instance removes the private space even farther from the street. The pedestrian has no structure overhead and the faade of the building is roughly 18 from the edge of the street. This is the least engaging typology for pedestrians in the Magazine Street area surrounding the site.

43

BuildingsOrganizations

A City Like No OtherMissionProgramContext

Schematic DesignDesign Development Final Documentation

Precedent Study

44

(photo)

45

Cy Twombly GalleryRenzo Piano Houston, TX

BuildingsPrecedent

A stretched fabric ceiling is the last layer of the sunlight filtering system and it forms a soft, ambient, overhead light source.

Like in many of his designs, Renzo Piano uses a complex layered roof system to address sunlight. This type of system filters and diffuses sunlight before it enters the gallery spaces below. The aluminum louvers in this system diffuse most of the sunlight and allow free movement of air, which helps to reduce heat gain. I felt that a simplified variation of this roof system was more appropriate for my design since toplighting interior spaces was difficult due to the acoustic isolation requirements of many of the spaces.

46

a Fixed sunshading louversb Structure that supports louversc Glazed roofd Adjustable louvers to control light intensitye Light-diffusing fabric ceiling

a

b

c

d

e

a

b

cd

e

47

The Lavin-Bernick CenterVincent James Associates ArchitectsNew Orleans, LA

BuildingsPrecedent

The Lavin-Bernick Center serves as a student center on the campus of Tulane University. The design called for the existing concrete, modernist structure to be stripped down to its core and then reintroduced as a building more appropriate for the New Orleans setting. The interior spaces are broken up into zones which are cooled, actively and/or passively, based on programmatic use. In keeping with New Orleans tradition, there is a strong connection between the indoor and outdoor environments.

Horizontal lovers wrap the facade to block high-angle sunlight and add a

subtle hint of color.

48

Lovers above balconies and outdoor gathering spaces block sunlight, while

allowing free movement of air.

Big Ass Fans are used throughout the building to encourage the movement of

air and reduce the required cooling load. Large windows serve to visually reduce

the barrier between inside and out.

49

OrganizationsPrecedent

MusicianCorps

MusicianCorps is a strong example of how to structure The New Orleans Center for Music Exploration. The organization, a part of The Center for Music National Service, locates musicians and places them in communities in need as teachers. The main goal of the organization is to motivate students to stay in school and 7 out of 10 high school students say they want to come to school more because of MusicianCorps. The program is centered around music and learning to play an instrument, but the overall message is intended to be much larger than that.

Set up much like AmeriCorps, MusicianCorps supplies each partici-pant with a living stipend, health care and professional development in exchange for a yearlong teaching appointment. A similar struc-ture could be established at The New Orleans Center for Music Exploration. With a sponsorship from the city or a private donor, music instructors could teach at the Center and also experience the great things that New Orleans has to offer.

50

El Sistema

El Sistema is a musical education organization in Venezuela. It was started by Jos Antonio Abreu, an economist, with the idea to introduce children of poverty to classical music as a way to remove them from the negative influences that are all too common in their lives. El Sistema has reached an estimated 310,000 children since it was started in 1975 and currently there are over 500 orchestras across the country. The organization has considerable backing by the Venezuelan government, which donates roughly $64 million each year.

El Sistema is an ideal model to learn from for the New Orleans Center for Music Exploration, even though it would most likely remain a much smaller organization. One aspect of El Sistema that helps its strength over time is the intense pride that current stu-dents and graduates have for the program. Many students remain in the program to teach after graduation. New Orleans has a strong sense of pride in its city and its music, so I believe that a similar structure can be attained. As was the case with El Sistema, it will most likely take a number of years to truly imbed the New Orleans Center for Music Exploration in the city to the extent where genera-tions are graduating and returning to help the organization grow.

51

Design PartiConceptual ModelsScheme 1Scheme 2Scheme 3Scheme 4

A City Like No OtherMissionProgramContextPrecedent Study

Design DevelopmentFinal Documentation

Schematic Design

52

Design PartiSchematic Design

54

Extend the StreetEstablish porosity throughout the building form in order to extend the larger context of the Magazine Street environment.

1

Facilitate Street MusicUtilize the outdoor spaces as informal performance venues for students of The Center and local musicians.

2

Cloak the EnvelopeProtect the roof and facades from the harsh New Orleans sun though the use of a comprehensive shading system.

3

55

I explored the modeling process through two different types of models: massing models and character models. The massing models are an appropriate starting point in a design. They are all about form and the physical/volumetric relationships between spaces. The character model builds upon what is studied with massing models. It strives to answer such questions like, What is this space like experientially? and How does the material palette affect the space?

I built a series of models starting in the 1/32 = 1-0 scale. Using studies from the programming stage, I first explored the relationship of program spaces to one another and to the site. From there I began to explore various forms, materials, colors and textures. Together, the collection of study models began to paint a picture of my design concept. They also exposed potential problem areas and alerted me to things that I had not thought of while working in 2D. The next step was to increase the scale to 1/16 = 1-0, which allowed for a greater level of detail and articulation of spaces.

Conceptual ModelsSchematic Design

56

I felt a strong urge early on to push the dialogue between the sidewalk and my Magazine Street facade. This study becomes a bit overbearing, but it showed me that I was on the right track.

I utilized color here to identify programmatic function. Also, the overhead canopy begins to take form. The corner square begins to take form, but still feels a bit abrupt.

The concept of multiple outdoor spaces linking a porous design begins to show in this model. I explored the nature of transparency by using few solid walls. The balcony overlooking the street on the 2nd floor comes to life.

In this model I explored the relationship of the flexible theater and outdoor spaces to the street. A large open gathering space extends from below an overhang as a means of transition. I felt that the corner square needed to increase in size from this model if it was going to be a strong part of the design.

57

Public Space

Radio Station

Support/IT

Recording/Instruction/Admin

Through the modeling process, the corner square became the center-piece of this design. It is the first place a person experiences when visiting this building and the loca-tion adjacent to two streets serves as a smooth transition from the raw street environment to interior spac-es. In tandem with this, a ribbon gallery took shape as it addressed both streets and the corner by pre-senting the work on display. This concept failed to develop because to have a continuous gallery the po-rous entry that I had envisioned into the courtyard was then restricted by the exterior gallery wall. I felt that it was important to keep the exterior connection between the street and the courtyard uninhibited through the corner square.

Public Spaces

Radio Station

Support/Admin.


In this scheme, a ribbon gallery wraps the 1st floor facade of the building adjacent to the street. This presents the gallery work for all pedestrians to see.

Scheme 1Schematic Design

58

Sectional studies were of great help in visualizing the experiential nature of the relationship between the building form and the exterior spaces, both of which developed in a push and pull manner through schematic design.

A porous approach to building form results in a courtyard without place. It ends up being more of a pathway than a gathering space.

A

B

A

B 2nd Floor1st Floor

59

In response to my contextual analysis of the horizontal and vertical forms and the play of the public/private space, I started to develop a unique way of addressing the street. A balcony extends from the second floor over the sidewalk and becomes a semi-private space due to the vertical screening system that hangs from the roof structure. In its elementary stages, one can already see the dialogue developing with the surrounding built environment. It was important for me to design this screening system as a response to the context, but also serve as a functional way to block the harsh rising sun coming in from the east.

60

Many early studies were too rigid and monolithic. Here I was playing with the idea of a varying level of opacity based on the spacing of the slats.

As I began to explore the structure in my design, I studied how it could be expressed through this screening system. Also, glazing as an important factor came to light here.

In response to the stiffness of early facade studies, I looked to incorporate a whimsical curve as a point of purposeful contrast.

Ultimately, I combined the idea of rectangular bays with an undulating curve to establish a vibrant rhythm along Magazine Street.

Facade StudiesThe form of the screened facade quickly became a large element in the design. How this building addresses Magazine Street was a complex study of form, function and integrating respectfully into the existing urban aesthetic.

Opacity

Rhythm

Gesture

Hybrid

61

The three outdoor spaces are well defined from one another and each with its own purpose, but they are also connected in such a way that there is a comfortable, uninhibited transition from the street through the voids in the building form.

Porous Building Form

Extend the StreetThe relationship with the street in New Orleans is like no other place. It is not just a place for vehicular movement, but a vibrant place where music and social interactions of all kinds take place. A major component within this design is extending the street environment into and through the building form.

1

62

Balcony Over Sidewalk

Transparent Lobby/Gallery

Radio Station at Street Level

The balcony allows a building user to visually connect with those on both sides of the street while remaining enclosed in a semi-private wooden screen.

Positioned adjacent to the street and corner square sits the radio broadcast booth with three large windows that allow a strong visual porosity into the space for pedestrians passing by. This helps to create a psychological link between the local residents and their local radio station.

A fully glazed lobby/gallery presents a clear view for a pedestrian through the space into the courtyard and vice-versa, creating a strong connection between the innermost portion of the building and the street environment.

63

In response to the fluid, but indi-vidually undefined outdoor spaces in scheme 1, I worked to establish three spaces. Each space has its own character and purpose but are connected through outdoor pas-sages. The corner square receives people; the courtyard is central, reorienting and performance-based; and the outdoor flexible theater is a more intimate gathering space and also extension of the indoor flexible theater.

As the design took shape, the out-door spaces were constantly being closed in by the reality of program-matic square footage. Careful attention was paid to ensure that they remained comfortable envi-ronments, not narrow voids in the building form.

The lobby/gallery consolidated to the Magazine Street front to al-low a natural flow from the corner square into the courtyard. The radio station found a comfortable home adjacent to the corner square where the broadcast booth could sit at street level and prominent for all to see as a point of pride for the surrounding areas.

A

B

C

Scheme 2 & 2.24 ReviewSchematic Design

2nd Floor

1st Floor

64

Once programmatic spaces began to work, linking them was next. There was a lack of a physical relationship between the lobby/gallery and flexible theater due to the vertical circulation separating them. Circulation on the second floor was a delicate balance between enough links to the balcony and a concise, simple layout.

A

B

C

65

I thought that the review on 2.24.12 went well. It was a good opportunity to bring my work up to speed in a presentation format. It also provided a chance to view everyone elses progress. I believe my overall work was received well. The jurors appre-ciated the amount of work that I had done to describe my program and how I chose to analyze the context of the site. Robert and Dominique pointed out that my program speaks to the fluid-ity of music, but my design and model are much more rigid and constrained by the grid that I established which draws from the verticality of the surrounding built environment. Robert said to loosen the tie a bit. I would agree with this as I felt my design tightening up as I dove deeper into design work. This is a good criticism as I want my building to embody the established mission and program.

66

Thoughts on where to progress from here:

I am going to think less rigidly about the grid and a column at every 16 mark. Why does this need to be a column? It doesnt. A simple change in material or the placement of a reveal or thin divider can sub-tly acknowledge the vertical rhythm of the surrounding context and not be overconstrained by it.

The porosity of my vision has yet to show itself to the extent that I would like. How do these openings from the street bleed into the courtyard and vice-versa? These should be comfortable connecting passages between outdoor spaces

I am studying Renzo Pianos flying carpets in more depth. He does some beautiful work with light deflection through sun shades. The Beyeler Foundation and Cy Twombly Museum are two excellent ex-amples of his work with shading devices

The Lavin-Bernick center is also an excellent precedent to study. The problem of establishing a grid and then breaking it is somewhat the same in our two projects.

I need to continue working with egress and circulation

I will continue to analyze the programmatic layout and study how these spaces interact. What needs daylight? What needs external views? What needs to be adjacent to what?

67

Facilitate Street MusicSince the program calls for a design where students can learn about the New Orleans tradition of street music, it is only natural that the outdoor spaces throughout the porous building form embrace and enhance peoples desire to share music with the public on the open street.2

A

B

B

AAngled surfaces direct the sound from live music in the courtyard upwards and out as to reduce excessive noise inside Courtyard

Clouds located within the Corner Square and Outdoor Flexible Theater direct music outward from the site, reinforcing the strong relationship with the street environment

Angled Reflective Surfaces

Acoustical Clouds

Architecture as a Facilitator of Music

The intended first impression for a visitor to this building is that he or she hears the energy of a street band from a block away. Clear, Lexan acoustical clouds hang above the Corner Square and Flexible Theater (Outdoor) to direct the music outwards and flood the streets with music. These are dedicated public use spaces, which means that they are intended for any musicians and bands to utilize as they wish.

Acoustical Clouds

68

AB

B

AAngled surfaces direct the sound from live music in the courtyard upwards and out as to reduce excessive noise inside Courtyard

Clouds located within the Corner Square and Outdoor Flexible Theater direct music outward from the site, reinforcing the strong relationship with the street environment

Angled Reflective Surfaces

Acoustical Clouds

Architecture as a Facilitator of Music

The courtyard is a space that is designed to help draw daylight inside, to reinforce a porous building form and to serve as an informal music venue. Unfortunately, the four walls surrounding it are not ideal for dispersing sound, so I design a skin to be applied to the curtain wall envelope to help redirect the music upward and away from interior sound-sensitive spaces. The upper and lower rectangular panels are a translucent .75 Clearsorber panel and are angled in such a way as to direct sound upwards through the roof louvers. The middle connecting piece is convex .75 Clearsorber panel which disperses the sound instead of directing it.

Courtyard Panel Skin

69

Scheme 3Schematic Design

At this point, the physical porosity from the street and between out-door spaces was established and I turned my attention to the visual porosity. A strong element in this concept was the sightline through the gallery into the courtyard from Magazine Street. I analyzed this through another 1/16 = 1-0 model and perspective sections. I felt confident that the design clearly expressed this concept.

On the first floor, I realized that the entrance to the flexible theater would not work. It was off center, which pushed the stage to the side, and there needed to be a more significant light/sound lock.

On the second floor, programmatic spaces like recording/instruction worked well, but I was still having trouble with an efficient arrange-ment for the radio station. At this point, it was split across two floors which was a bit odd. The circula-tion on the second floor was work-ing better, but still had kinks to be worked out.

70

A major concept that I also studied at this stage was the treatment of music played in the courtyard. I explored angling the courtyard walls to reduce flutter. This became an architecturally expressive way to treat sound. Initially I thought to use the envelope itself to displace the effect of flutter. Ultimately I felt that with the concept of layering that was already present in the sunlight modulation scheme it stayed more true to the design to keep the courtyard walls orthogonal and use an additive process of sound skins to treat the sound with reflective and absorptive materials.

UP

UP

UP

DN

DN

DN

Public Spaces

Radio Station

Support/Admin.


UP

UP

UP

DN

DN

DN

2nd Floor

1st Floor

71

As opposed to the facade combating the full effect of solar radiation, a series of layers reduces the intensity of the sun before it hits the building envelope. Vertical fins modulate the sunlight as it hits the east and south facades. Horizontal louvers mounted above the roof shade it and the three outdoor public spaces from direct sunlight.

Top ShadingFixed Outdoor Space Shading Louvers

Low AngleShading Vertical Fins

Fixed Roof Shading Louvers

Steel Frame

Sunlight Modulation Through Layers

Fixed Outdoor Space Shading Louvers

Steel Frame

Fixed Roof Shading Louvers

Vertical Fins

Cloak the EnvelopeArchitectural tradition in New Orleans has much to do with battling the heat and sunlight. One proven method is to treat sunlight in layers before it hits the envelope. Such is the case with galleries and attics, both of which serve as the first line of defense against solar radiation.3

72

Top Shading

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As a way to modulate the harsh New Orleans sunlight, louvers above the rooftop and outdoor spaces absorb the brunt of solar radiation, while still allowing for air movement.

A vertical fin screening system hangs from the east and south edges of the building and serves two roles. First, this prevents the rising sun from directly entering the eastern windows. Second, it serves as a semi-private screen between a person on the balcony and the street below.

73

Scheme 4 & 3.16 ReviewSchematic Design

I believe that this fourth scheme was a thorough response to the layers of feedback and investigation that went into the first three schemes. As had been the case in the latter parts of the design process, I used circulation as a tool to help me articulate the way spaces work and fine tune them. I began with thinking about how a person would enter the lobby/gallery. Previously the space was too open and almost barren, so I consolidated the reception desk, store, listening booths, film viewing rooms and display boards to the east side of the gallery leaving the west wall as a path of circulation.

Thinking about how a person would purchase a ticket and then enter the flexible theater, I felt as if the vomitory space just outside of the entrance was too tight. In response, some storage space adjacent to the flex theater was relocated and in its place the concessions/catering kitchen and a congregating area for people before or after events.

Finally, by exploring many configurations and adjusting the stair from a scissor-style to a linear stair, the radio station was consolidated to just the first floor.

Public Spaces

Radio Station

Support/IT


Administration

1st Floor

74

2nd Floor

75

Reviewer 1 Tom Waggoner

The first review started off the day on an enjoyable note. Mr. Waggoner, a principal at 360 Architecture, visited New Orleans recently for the first time and he had a similar observation that I did. We both felt the strong presence of the street life and within that a core solidified by music. He appreciated the inclusion of a radio station as a way to add another layer of life to the design. He was interested in the vertical wood screens along Richard and Magazine Streets. He challenged me to develop a logic behind the undulation of length. This is actually a topic that I had explored to a certain extent and I totally agreed with this comment. Because it is such a dominant part of the design, it would be a more sound argument if the pattern was derived from a musical origin.

Reviewer 2 Vince Gautier

Mr. Gautier, a local developer originally from New Orleans, and I spoke at length about Jazz. He described it as classical music layered with tribal music. He encouraged me to think of the three outdoor music spaces as vibrant, tribal spaces within the clean, classical design. This is a fantastic analogy to pursue. He complemented me on the clarity and presentation of my graphics, which is always nice to hear.

76

Reviewer 3 Nils Gore

Prof. Gore brought a strong next steps perspective and we spent most of our time discussing materiality and fabrication techniques for the wood screens. He gave a great piece of advice for how to approach materiality. He said, Think in terms of scale for material choices. We discussed whether or not the screens could be, or should be, assembled on side or pre-fab in a shop. Both have their pros and cons, but any work that can be done in a shop is sure to be more precise and thorough. Right now the clean aesthetic of the screens is the look I am going for, but it will be a challenge to detail it out in a manner that is functional as well.

Reviewer 4 Shakeel MhaskaMr. Mhaska, a structural engineer at Thornton Tomasetti, was a great help in solidifying the structure within my design. He helped me understand a number of concepts from the perspective of an engineer and someone who will be building it on-site. Since I had done little investigation into the pile foundations, we discussed sizing of members, placement and installation. I more confident in my design and the corrections I need to make after speaking with him.

A

B

An Extension of the Street

Because of the unique relationship with the street in New Orleans, the primary parti of this project is to establish a level of fluidity between the public street and private space. The goal is to create a comfortable, subtle transition as someone enters from the sidewalk. The Corner Square serves as the cornerstone for this concept.

77

Reviewer 5 Kevin Harden

Mr. Harden, a principal at Harden, Gastinger, Walker, brought some interesting perspective that I had not considered. He said, when thinking about circulation, think about what a person will be looking at while walking down a hallway. Something like a window or a piece of art is ideal, while a door or blank wall would not be as visually pleasing. He was excited about the vertical and horizontal contextual analysis, but felt that a bit of my expression of this in my design was lost by only having the wood screen columns extend to just below the second floor, instead of all of the way to the sidewalk. This would be in keeping with the thin steel New Orleans-style columns, but I feel that there is a certain delicacy about the screen hanging above the sidewalk, not rooted to the ground. I believe that this adds to the complexity of semi-private space that is established below the sidewalk and on the balcony.

78

Cam

p St

reet

Richard Street

Mag

azin

e St

reet

Orange Street

Felicity Street

Reviewer 6 Joseph Towns

Mr. Towns, a graduate from KU in engineering and architecture, spoke mostly about the porosity of spaces concept. He felt that it was successful, starting at the entrance of the corner square through into the courtyard.

Reviewer 7 Prof. Steve Padgett

I knew that Prof. Padgett would have good criticisms since he is such a fan of Renzo Piano and I used his roof canopy techniques precedents. He felt that the concept of louvers above and below the steel frame was too subtle of a gesture, and that they should be different or expressed in another way over the outdoor spaces, instead of just in a different plane. He also encouraged me to integrate the acoustical clouds and courtyard sound treatment panels into the frame somehow so that it becomes more significant and supports both louvers and sound treatment. I feel that his ideas are strong and with merit, but that my focus is slightly different than the direction he was pushing. Whereas Renzo Piano pushes his roof systems to the edge of complexity and importance, my design is more focused on a lighter weight shading system as a crowning element with subtle gestures.

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Passive SystemsShadingEnvelopeFlexible TheaterCirculation & EgressStructureMechanical

A City Like No OtherMissionProgramContextPrecedent StudySchematic Design

Final DocumentationDesign Development

80

Flexible Theater

Courtyard

Lobby/Gallery

Staying cool during the warm months in New Orleans is always a challenge. Instead of relying solely on active cooling systems, this design includes multiple passive systems. Each technique either encourages the movement of air through a space or reduces the solar exposure on the envelope and outdoor spaces.

Passive SystemsDesign Development

82

shade the roof, facades and outdoor spaces from direct solar ex-posure.

Aluminum Louvers

block low-angle sun exposure, especially as the sun rises.

Vertical Wood Fins

facilitate outdoor air movement in the Courtyard and help acceler-ate the stack effect in the Flexible Theater.

Big Ass Fans

allow for the natural movement of air through convection to pas-sively cool and ventilate.

Clerestory Windows

83

Top Shading ConstructionDesign Development

84

1 W16 steel beam2 W10 steel beam3 3 steel tube mounting pedestal4 12 aluminum louvers with white powder coat finish 5 Mounting hardware6 1.5 diameter steel stiffener rod

Attach louvers to mounting pedestal

Insert stiffener rod

1

2

4

6

35

85

Low Angle Shading ConstructionDesign Development

86

1 6x6 steel tube2 6x4 steel tube3 2x6 steel tube4 2x6 cypress fin

4

1

3

2

The 6x6 steel tube columns bolt in place and hang from the roof structure

87

1 1x6 rough sawn cypress rainscreen2 1x4 cypress furring (mounted to Z channel)3 2 Z channel (mounted to sheathing)4 2 rigid insulation between Z channels5 waterproof membrane6 3/4 plywood sheathing7 2x4 studs with fiberglass insulation

Envelope ConstructionDesign Development

88

12

3

4

5

67

89

A tension grid suspended above the theater offers maximum flexibility of lighting configurations

Vertical rising drapery allows flexibility in reverberation time within the theater for any event from music to spoken word.

Flexible TheaterDesign Development

90

UP

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UP

Seating Arrangement #1

Sound Absorbing Drapery


Flexible Theater Interior

UP

UP

UP

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UP

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UP

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Typical

Flexible Theater Seating Configurations

EventOpen to Courtyard

91

The circulation in this design maximizes a users connection with the outdoor environment, both visually and physically. A balcony wraps the east and south facades and overlooks the street below, while the interior circulation is oriented around the courtyard. The design for this building calls for the most commonly populated spaces to be located at street level, which helps to simplify the egress system. On the first floor, both the gallery and flexible theater have exit doors that lead directly outside and the other spaces exit through the courtyard. Two fire stairs serve as exits for the 2nd floor. The longest distance from an occupied space in the building to the closest exit is 102, which is compliant with the maximum 200 code allowance.

Horizontal Circulation

Outdoor Balcony

Vertical Circulation

Path of Egress

Circulation & Egress Design Development

92

Roof2nd Floor

12

45

A

B

E

D

C

3

12

45

A

B

E

D

C

31

24

5

A

B

E

D

C

3

12

45

A

B

E

D

C

3

12

45

A

B

E

D

C

3

12

45

A

B

E

D

C

3

Steel was chosen for the structure of this design. Because of the high water table in New Orleans, piles and pile caps must be used to properly support the weight of a building. Each 6x6 steel tube column rests on a cast-in-place 5x5x2 concrete pile cap. Below there are three steel friction piles for each pile cap. The piles are 9 in diameter and run roughly 80 into the ground. The average span between columns is 30, which calls for 18 steel, wide flange beams. Running between the beams are 16 open web joists every 4 with 2 steel decking on top. The columns also support the 16 and 10 wide flange beams for the louvered shading system above the roof.

W16 steel beam

W10 steel beam

16 open web joist

W18 steel beam

6x6 square tube column

Structure

93

The mechanical system for this design relies on the constant temperature of the earth to either absorb heat in the summer months or supply heat during the winter months. Fifty vertical wells run to a depth of 120 each. These wells are located below outdoor spaces, instead of below the building, so that they can be more readily accessible for any maintenance or replacement in the future. A loop of HDPE pipe comprises each well and water is pumped through the entire system to serve as a heat exchange fluid. By utilizing a deep well direct exchange system, it will supply the HVAC system with 50 tons of capacity.

3/4 HDPE pipe

Geothermal Mechanical SystemDesign Development

94

Supply Air

Return Air

Return Air Plenum

Mechanical Room

Ceiling diffuser

1st Floor

2nd Floor

Wall mounted return

6-12 secondary ducts

18 main ducts

Geothermal Wells

95

A City Like No OtherMissionProgramContextPrecedent StudySchematic DesignDesign Development

Final Documentation

Cam

p St

reet

Richard Street

Mag

azin

e St

reet

Orange Street

Felicity Street

96

Cam

p St

reet

Richard Street

Mag

azin

e St

reet

Orange Street

Felicity Street

97

Mag

azin

e St

reet

Richard Street Felicity Street

1

E

A2

3

5

67

8

1st Floor1/32 = 1-0

98

1 Lobby/Gallery2 Street Recording Booth3 Flexible Theater (indoor)4 Flexible Theater (outdoor)5 Courtyard6 Corner Square7 Radio Station8 Mechanical Room9 Control/Post-Production Room10 Recording/Instruction Room11 Suspended Acoustical Clouds12 Equipment Storage

N

open tobelow

1 Lobby/Gallery2 Street Recording Booth3 Flexible Theater (indoor)4 Flexible Theater (outdoor)5 Courtyard6 Corner Square7 Radio Station8 Mechanical Room9 Control/Post-Production Room10 Recording/Instruction Room11 Suspended Accoustical Clouds12 Equipment Storage

N 2nd Floor Plan1/16 = 1-0

D

A

9

10

11

11

12

12

2nd Floor1/32 = 1-0

99

17 18

B

C

D

East Wall Section Details1 = 1-0

17 18

B

C

D

East Wall Section Details1 = 1-0

A East Facade Wall Section

B

C

Wall ConstructionFinal Documentation

1

8

10

12

13

5

9

5

7

2

6

6

3 11

B

C

14 15

4

100

1 1x6 cypress rainscreen 1x4 cypress furring 2 rigid insulation waterproof membrane 3/4 plywood sheathing 2x4 wood stud with batt insulation 5/8 GWB 1.5 airspace 2x4 wood stud with batt insulation 5/8 GWB (2 layers)2 2 1/4x3/4 cypress ceiling grill 3/4 Tectum 5/8 GWB (2 layers) 3 batt insulation3 3/4 plywood 5/8 GWB (2 layers) 3/4 plywood 2x4 vibration isolators with batt insulation between 3 concrete on 2 steel decking4 EPDM roofing membrane 2 rigid insulation (2 layers) 2 steel decking5 W18 steel beam6 18 steel bar joist7 8 steel channel framing8 3/4 double pane insulating glass9 3/4 tempered glass fin10 aluminum channel with housing11 1x6 cypress decking12 vibration isolator supporting suspended ceiling13 2x6 cypress fin14 sealed concrete floor15 public sidewalk

*Cypress shading fins not shown for clarity

28-0

14-0

0-0

Partial East Elevation

101

1st Floor Partial Plan1/4 = 1-0

2nd Floor Partial Plan1/4 = 1-0

13

9

7

15

18

19

20

21

12

10

7

7

1

E

F

1st Floor Partial Plan1/4 = 1-0

2nd Floor Partial Plan1/4 = 1-0

13

9

7

15

18

19

20

21

12

10

7

7

1

E

F

D 2nd Floor Partial Plan1/4 = 1-0

E 1st Floor Partial Plan1/4 = 1-0

102

1st Floor0' - 0"

2nd Floor14' - 0"

Roof28' - 0"

106

1st Floor0' - 0"

2nd Floor14' - 0"

Roof28' - 0"

Magazine Street Elevation 1/8 = 1-0

107

References

Allen, Edward and Joseph Iano. The Architects Studio Companion. New Jersey: John Wiley & Sons, Inc., 2007.

Bernard, Scott. New Orleans. Lecture at Tulane University, New Orleans, LA. 2 February 2012.

Brown, G.Z. and Mark DeKay. Sun, Wind & Light. New Jersey: John Wiley & Sons, Inc., 2001.

Campanella, Richard. Time and Place in New Orleans. Gretna: Pelican Publishing Company, Inc., 2002.

Lechner, Norbert. Heating, Cooling, Lighting: Design Methods for Architects. New Jersey: John Wiley & Sons, Inc., 2000.

Means, R.S. 2010 Building Construction Cost Data. Kingston, MA. 2010.

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