Improving the Modern Day Independent Music Scene Through Design

Home , The Space Between

THESIS

THE MUSIC CO-OP: IMPROVING THE MODERN DAY INDEPENDENT MUSIC SCENE THROUGH DESIGN

Kristen Filoromo

Interior Design

In partial fulfillment of the requirements

For the Degree of Master of Art

Corcoran College of Art and Design

Washington DC

Spring 2013

Thesis Statement

1. Observation- The current standard music venue is hostile, fosters an environment of anonymity and fails to blend music appreciators as a cohesive group, specifically within the “indie” music culture.

2. Argument- A new type of music venue is needed to encourage positive social behaviors, intimacy and openness to all, while also recognizing the inherently exclusive tastes of music appreciators and “indie” culture, and to provide musicians with an opportunity to comfortably explore the artistic process.

3. Direction- Move the course of design away from loud, open, basement like spaces, towards high-end designs, suited to varying levels of listening, leisure and conversation, and recording spaces that are user- friendly and comfortable for artists. By placing both consumption and production of music under one roof, the space will reflect the values of the clientele, who are hungry for knowledge of emerging trends in music.

iii Abstract: The Music Co-Op

For over a century music clubs have presented entertainment, social networking and community in environments that have spanned numerous genres and movements. These venues are of paramount importance to music appreciators and artists from all genres and cultures. For those who favor “indie” culture and music, however, the range of present-day offerings is limited to spaces that are unfriendly both to performers and audiences.

The current standard music venues often emulate the grimy, dark, and poorly planned punk rock clubs of the 1970s, offering poor sound quality and aesthetics. These spaces are hostile, foster an environment of anonymity and fail to blend music appreciators as a cohesive group, due to the vast, disorganized spaces often paired with grimy, defaced interiors. There needs to be a different type of music venue that will encourage positive social behaviors, intimacy and openness to all, while also recognizing the exclusive and fanatical nature of music appreciators and “indie” culture. Therefore, this project will contribute a direction of design away from loud, open, basement-like spaces towards high-end designs suited to varying levels of listening, leisure and conversation, which this project will examine.

The proposed solution is an intimate, fun space that references both the indie consumer’s penchant for vintage fashions and childhood nostalgia, along with a user-friendly environment for artists to collaborate and record. This formula will be paired with the concept of a “Music Co-Op” run by members who pay dues. These members will make decisions about cultivating music programs and shows to introduce new artists and movements to audiences of both current members and their guests. Ultimately, however, it should be the interior and social atmosphere of the club that will ensure quality and enjoyment for patrons and performers. Through investigating precedents, acoustic building materials and multi-use space planning, and researching the needs and direction of independent musicians and fans, I hope to create a space that is intimate, inviting and a pleasure to view and perform in.

Contents:

Page

Introduction: The Importance of Indie ………………………………...………..…………….…… 1

Concept and the Design Method ………………………………………………...…….…...….....… 2

Community Building and the Arts …………………...... ……………………………..……..…… 11

Millennial Nostalgia and the Classroom …………………………………………………..……… 13

Site Precedents ………………………………………………………………….………………….. 21

FAC 51 Hacienda ………………………………………...….…………………...…....… 21

The Knitting Factory …………………...... 22

De Vorstin ……………………………………………………………………...……....… 25

Site Analysis ………………………………………..…………………………..………...….……. 27

Programming …….………………………………...……………………………………….....…. 31

Floor Plans ………………...…………………………………………...………………………… 33

Materials …………………………………….………………………………...…...……...….… 34

Performance Venue ………………………………………………………...…..………...….....… 46

Stage Setup …………………………..………………………...………………………………… 50

Lighting ……………………………………………………………………………...…...……… 53

Acoustics ………………………………………………………………….…………………….. 57

Artist Spaces ……………………………………………...…………………….………….…….. 58

v Housing ………………………………………...….……………………...……...…....… 59

Recording Studio …………………...... 61

Audience Spaces ………………………………………...…………………….…………….…….. 64

Entry ………………………………………...….……………..………………....…....… 64

Restrooms …………………...... 66

Lounge …………………...... 68

Final Thoughts/Design Contribution …….………....……………………...………...……...... …. 70

Appendix: Presentation Boards …….………………………………...………...……….…...... …. 74

Bibliography ………………...……………………………………….…………………..……… 80

vi 1 Introduction: The Importance of Indie

For decades popular music has enriched mainstream culture and the lives of consumers, promoting artistic expression and audial pleasure. According to sociologist Wendy Fonarow, one of the most influential and ever-evolving movements in music is “indie,” which carries with it an entire culture of close-knit communities whose love for music extends not only to emotional enjoyment, but also to a refined pedagogy of emerging trends in musici (Fonarow, 2006, 27). The bonds between participants in the indie scene are important as they foster camaraderie, creativity and the advancement of art and music.

The term “indie” historically referred to a select group of music appreciators who enjoyed unsigned or minor-label artists, and often (though not always) espoused countercultural, anti-consumerist views in politics and the arts. In current pop culture, such individuals are often labeled “hipsters.”

Despite its apparent exclusivity, indie’s influence can be found in almost every Top 40 music track, in genres ranging from hip hop (e.g. Jay-Z) to R&B (e.g. John Legend) to pop (e.g. Rihanna). Moreover, numerous indie acts have themselves broken into mainstream airtime, including Foster the People

(“Pumped Up Kicks”), Santigold (“Lights Out”) and Passion Pit (“Sleepyhead”).

As indie music and culture have gained increased popularity, the indie scene has evolved from an ethos of hard-line anti-commercialism and the stigma of “selling out” to an acceptance by indie musicians of their works’ use by advertisers as a fresh way to sell products, usually without repercussions for the band’s credibility. Indie is also embracing technology in music, albeit often with a nostalgic soundii

(Fonarow, 2006, 46), compared to five years ago when it was primarily guitar-focused. These factors are important as indie enters the new generation, becoming a dominant influence in pop music and culture.

Notwithstanding the increasingly significant impact that indie music has had on pop culture, however, those within the indie scene keep a close and guarded unit of fans, artists and promoters with tight social interactions.

2 To nurture the continued development of indie, audience members and performers need to feel connected and relevant for as long as possible. Indie fans and artists no longer abandon the scene after getting jobs and having kids, but they may feel alienated or out of place around much younger participants. This more mature group needs to be recognized and catered to if the indie scene is going to develop to its full potential. The solution to this predicament is The Music Co-Op, an institution and music venue that will be a place that caters not only to aging music fans, but to the full array of enthusiasts. In addition, it will provide a creative haven for independent and developing acts to hone their craft through onsite recording facilities and housing.

Concept and the Design Method

Active participation in the indie scene peaks in the teen years and starts to wane in the later twenties, even as the interest and affinity for the culture and music continues. This drop-off can be attributed in part to changes in lifestyle and responsibilities, but also to the limited availability of suitable venues for those in their late twenties to early forties. As noted above, the current standard music venue is unfriendly both to this demographic and to performers, and it often emulates the grimy, dark and poorly- planned punk rock pubs of the 1970s, where anarchy and rebellion were celebrated. Such spaces hold an appeal for teenagers with their rough, uninhibited interiors, but can present themselves as aggressive, dirty and associated with immaturity to “scenesters” (those active within the indie music scene) as they mature. Because of this, those within the indie scene begin to exit out of the active indie social network starting in their mid- to late-twenties and are almost completely done by their thirties. As Fonarow explains, the type of experience these older fans desire changes: “The physical intimacy that was once an exhilarating and novel experience becomes something that is actively eschewed by older fans. They reject the activities of zone one1 based on a preference for greater comfort and decreased exertion and hardship”iii (Fonarow, 2006, 113). Because of this, the social interactions and environments associated

1 “Zone one” refers to the younger crowds of listeners, who typically crowd the front of the stage in energetic frenzy.

3 with a blossoming indie scene are lost as participants age, but their interest in the music of the scene rarely ever wanes. In order to encourage continued participation in the indie scene, venues need to adapt to an aging – but by no means old – clientele. The space needs to be warm, welcoming and arranged to suit varying levels of audience participation (dancing, listening or discussion) and conform to the interests and tastes of those in their late twenties through early forties.

The target clientele for this venue are formerly-active “scenesters” (also known as “hipsters”) in the thirty-plus age range. They most likely have careers, are married or in long-term relationships, and many have children. These individuals have an overall settled lifestyle emotionally, professionally and financially. For many, the dark basement clubs and punk rock bars they previously frequented do not appeal to their grownup nature. What does appeal to them is a combination of nostalgia and sophistication and an appreciation for the arts and literature, but without the pretention of the upper class. Often they are aware of and involved in local issues, including organic food and farming, and have the income to dine out at locavore and fine dining establishments.

While these interests are not unique to indie adherents, the most striking component of indie culture is the reverence for nostalgia and childhood, spun in a sophisticated and quirky way. Fonarow explains the overall attitude and essence of “indie” in her observational study: “Indie extols local/independent authority, the direct experience of music in a live setting, simplicity, the ordinary, asceticism in consumption, and a nostalgic gaze that looks back at a mythological past of childhood innocence.”iv (Fonarow, 2006, 19). Two examples below depict fashion trends in accessories for both men and women that embody this nostalgia. The necklace (Fig. 1), is a direct copy of a peter pan collar blouse, commonly worn by young schoolgirls, but translated into a piece of stunning neckwear with pearls.

Similarly, the men’s tie hearkens to prep school ties commonly worn by young male pupils. The tie has been modernized with a thinner size, and paired with a dotted pattern, creating a modern play of visual texture (Fig. 2).

Fig. 1v Copyright BHLDN

Fig. 2 vi Copyright UrbanOutfitters.com

In addition, indie culture prides itself on finding humor in the obscure and quirky, and this is often reflected in its creative outlets. One example is the popular “Hipster Puppies” blog, where users can submit photos of their dogs dressed in their own indie attire, coupled with humorous back-stories that all relate to stereotypes of indie culture. (Fig. 3). Another example is the t-shirt designed by Dan McFarland for a contest to create an intentionally awful band t-shirt using Custom Ink, a program that allows users to create uniforms for softball teams and family reunions (Fig. 4). McFarland’s t-shirt design for Kelly

Clarkson features the face of President Barack Obama with a hammer and sickle on his forehead. This

5 was in reference to Clarkson’s endorsement of Tea Party activist and Republican candidate Ron Paul via

Twitter in December 2011vii (Wappler, 2011, 1). Some members of the Tea Party have made unsubstantiated claims that President Barack Obama is a socialist – hence the utilization of socialist symbolism in the shirt. Mocking an obscure instance of pop culture in an equally silly way, as McFarland did, typifies the indie sense of humor.

Fig. 3viii Copyright Hipster Puppies

Fig. 4ix Dan McFarland

These elements of style, interest and personality can be further broken down into three distinct demographics of indie culture. Demographic Three (Fig. 5), which is the target group for this project, is

6 typically educated, with career and family responsibilities. They have more disposable income than other indie demographics, and typically go out less. Because their time is more limited, they demand more from recreational experiences. They want venues that will cater to their need to unwind from their responsibilities. Individuals in Demographic Three are still very interested in music, but also take concerts as an opportunity to socialize and connect with friends. Of the three demographics, they spend the most money on alcohol, but do not consume the most, preferring quality over quantity.

Members of Demographic Two (Fig. 6) focus exclusively on the music. They stand towards the back of the crowd at shows, attentively listening to the music. They gather in groups but experience the music individually, seldom talking or dancing. They are also typically educated, starting on their careers, but may still live with roommates, unable to afford their own residences. They are typically interested in various social causes, often including a focus on agriculture and sustainability. They go to shows very often, usually once or twice a week. They will generally purchase the most alcohol of any other demographic at the venue itself.

Demographic One (Fig. 7) is the youngest group and the most exuberant fans. They are typically in their late teens or early twenties, and most live with roommates or parents. Members of Demographic

One will line up hours before a show to make sure they get the closest spot to the stage. They enjoy dancing and being physically engaged with the performers and each other. Because they have less disposable income – and because some are under 21 – they will drink before a show, and unless there is lax security or very inexpensive offerings, will typically not spend any money at the bar.

While these demographics typically correlate with age, it should be noted that it is more strongly associated with an audience member’s place in life. Their commitments to family, careers, causes and music vary widely, and these interests and responsibilities ultimately determine into what demographic they best fit. Nearly all members of the three demographics are of the Millennial generation, i.e., those born between 1980 and 2000, who came of age during the Digital Revolution. As noted above, they have

7 considerable nostalgia for childhood objects and memories. For a venue that not only holds performances but also houses a creative space for music artists, drawing upon the nostalgia felt in early education is possibly an effective way to harness the curiosity that the audience should feel towards artists and each other.

Fig. 5x

Fig.6xi

Fig. 7 xii

9 If a space is going to be successful in appealing to each of these demographics, including the largely underserved Demographic Three, it needs to meet not only the stylistic demands but the physical ones as well. Commonly in current venues, the area surrounding the bar and stage is cramped, and competition for drinks and close proximity to the performers can become hostile and lead to physical aggression (Fig. 8). The physical space can also create an impersonal feeling between the audience and the performer and among audience members. Sound volume can be ear-piercing, making it impossible to carry out a conversation. Clientele are herded together like anonymous cattle in a dark, loud space, often making it difficult to enjoy the artist’s performance (Fig. 9).

Fig. 8xiii Adam Shane

Fig. 9xiv Copyright Creators Project Staff

A positive alternative to the current standard design would be a bar and stage that is large enough to accommodate the crowd comfortably and is accessible from all sides (Fig. 10). Another option would be to divide the space between active (dancing/wanting to be close to the stage) and inactive (lounging, chatting) activities and have the stage in the center to meet the needs of both groups (Fig. 11).

Fig. 10. Kristen Filoromo. Model 2, 2012. Foam core with pins.

Fig 11. Kristen Filoromo. Model 3, 2012. Foam core with pins.

A proposed solution to the issue of cramped, hostile spaces is the music co-op, a member-run organization that makes executive decisions regarding member lists, keeping the venue financially viable without the need to overcrowd the venue. The goal of the co-op is to curate shows, rather than book groups blindly. Artist sponsorship is paramount to the success of the venue, promoting emerging acts and providing them with a studio to record and living spaces to stay during both recordings and performances.

This allows both the audience and the performers to experience a sense of ownership of the club and increases positive emotions and behaviors towards the space and each other. There should also be an educational element, exposing audience members to new music and broadening their artistic horizons.

11 Community Building and the Arts

Although long considered an insider’s movement, indie rock has had pronounced effects on the local arts and urban communities its devotees inhabit. Consistent with their inherent thriftiness, indie fans are drawn to affordable, no-frills environments found in previously blighted (or what is politely referred to as “up-and-coming”) urban neighborhoods. Despite this preference, indie fans are typically highly educated, and once obtaining a career path, they have considerable amounts of disposable income. While many indie fans fall into the middle-class economic category, they have a tendency to eschew conspicuous consumption of new and expensive material goods, preferring instead to go out and enjoy the arts, try different foods, and listen to new music. Thus they direct more of their income towards entertainment over possessions. This spending, especially in downtrodden areas, is important to the local economy, as Monash University associate professor Shane Homan explains: “Creative or cultural industries – for example, the art gallery, film studio or concert hall – have been continually incorporated in what seems to be a global template for cities in selling themselves as vibrant, re-energised [sic] places of cultural, leisure and heritage interest, in places of declining traditional industries.”xv (Homan, 2003,

17). Providing commercial spaces for indie scenesters and catering to their tenacious interest in emerging music trends benefits not only participants in the scene, but the economic conditions of the community at large.

Lee Higgins, program leader at the Institute for the Performing Arts at Liverpool, examined a similar subculture: the punk movement of the 1970s, when bored youths suffering from a lack of jobs and economic stability turned to an aggressive style of music and became politically engaged. Despite the stereotypes of destruction and chaos, punk rock music implemented a way for young people to feel more connected with social issues affecting their communities and the world at large, particularly concerning issues of prejudice and racismxvi (Higgins, 2008, 30). While more subdued in attitude, indie owes much of its heritage to the punk rock scene and similarly involves closely interrelated political activism, social awareness and music. Today, indie, among many issues, concerns itself with matters of eco-

12 consciousness, local agriculture, and promotion of the arts. As noted above, indie scenesters tend to live in less commercially developed urban areas. These are neighborhoods where access to fresh food and produce is limited (also known as “food deserts”) and where funding for the arts is limited. In addition to providing added cash flows into local businesses, the indie scene supports awareness and political pressure to deliver better service of food and culture to these blighted areas. One such example is

Philadelphia’s Pocket Farm, which not only grows produce in the Kingsessing neighborhood, but also organizes live music events to raise money for the cause (Fig. 12).

Fig. 12xvii Copyright Emily Wren

As individuals within the indie scene age into their thirties, their participation within the active indie social network and lifestyle wanes, as greater responsibilities of careers, marriage and children take precedence. It is important to engage these individuals in a way that makes the scene attractive to remain involved with – as a part of furthering personal growth, instead of stunting it. The best way to accomplish

13 this is through a performance venue that connects these individuals with artists and fellow “mature” scenesters in a way that is rewarding to them personally and to the indie community at large.

One way the punk music scene flourished, according to Higgins, was through a musician- sponsored co-op:

Music cooperatives encouraged a communal spirit that often resulted in musicians

pooling moneys. Consequently, bands were sharing larger and better-equipped rehearsal

spaces with increased resources, such as PA systems and recording facilities. Through

these endeavors, the music collectives recorded compilation albums, showcasing local

acts and offering opportunities for exposure beyond the rehearsal garage.xviii (Higgins,

2008, 31).

While music cooperatives of England in the 1970s and 1980s centered on musician involvement,

I believe that the best way to connect community resources and individual incentive is by promoting audience participation and investment in the success of the venture. There needs to be a venue that meets the current needs and desires of the growing indie scene in a way that fosters innovation and support of local and emerging artists.

Millennial Nostalgia and the Classroom

As mentioned previously, the targeted indie clientele generally hail from the generation born between 1980 and 2000, also known as “Milennials.” This generation holds nostalgic memories very dearly, particularly when pertaining to 1980s and 1990s children’s pop culture. While previous generations also grew up watching television, Milennials had so much material marketed towards them, in addition to programming, that some researchers equate childhood pop culture literacy with a greater understanding of mass culture. Researchers Merris Griffiths and David Machin from the University of

Wales Aberystwyth and Cardiff University conducted a study that suggests children of the 1990s use references from television programs as a way to boast and share common knowledge amongst one

14 another. In their study, they found that children who referenced commonly known storylines or references from television programs were more confident, vocal and quick to earn respect and admiration from peers. Those children who did not show familiarity with such programs were effectively ignoredxix

(Griffiths and Machin, 2003, 155). Griffiths and Machin therefore characterized television as not being a mere source of entertainment, but instead a vessel through which to introduce social behaviors and commonality to children. This phenomenon could explain the strong affinity for childhood references and nostalgia amongst Milennials.

While some educators and parents worried over the supposed assault on imaginative play and creativity that television posed, research by M.V. Sokolova, an assistant professor of psychology and education at Moscow State University, found that that was not necessarily the case. When children in her study were requested to act out the plot of a certain cartoon with accompanying toys, very few children followed the command, and after a short while, the children’s play evolved into creating and following their own storylines, typically involving playing house, travel or constructionxx (Sokolova, 2011, 52).

Sokolova concluded that the reason for this was that modern cartoons contained too much action, unrealistic behavior, exaggerated expressions and noise for children to easily follow; therefore, while they could remember the names and general disposition of the characters, they found it easier to develop their own stories for themxxi (Sokolova, 2011, 53). Sokolova did, however, differentiate between modern cartoons and more classical cartoons, such as Winnie the Pooh (with which Milennials are also very familiar) as being easier for children to follow, due to the slow-paced activity, speech and easily readable expressions. She concluded, “Many of these [modern] films are created on the basis of classical literature for kids; this makes the cartoons personages recognizable. Watching such films stimulates children’s play, provides it with new contents and senses and enriches the subjective experience of preschoolers.”xxii

(Sokolova, 2011, 54). This research suggests that viewing and reenacting these cartoons was actually beneficial, not detrimental, to the creativity and social understanding of young children.

15 One such popular staple of the Millennial childhood was the Teenage Mutant Ninja Turtles (Fig.

13), an animated cartoon centering around four teenage reptiles that had developed human physiques and supernatural powers through exposure to nuclear waste. Professor George H. Lewis at the University of the Pacific recounts numerous examples where episodes of the show impart progressive social messages.

He cites examples throughout where the main characters express messages of non-violencexxiii (Lewis,

2005, 33), gender equality, teamwork, and respect for eldersxxiv (Lewis, 2005, 35). Aside from the show being visually appealing, humorous and exciting to children, it served as a way to teach them complex lessons they might not experience personally until their later years, and instilled a moral compass that many of that generation still hold today.

Fig. 13xxv Copyright Lionsgate Home Entertainment

In addition to all of the toys and characters that are included in childhood reminiscing, one of the most commonly used nostalgic references in popular culture is that of the classroom. Professor Stacy Otto of Oklahoma State University describes with great detail the ever-present 1950s era classroom design used in many modern television shows and movies. Despite taking place in the 1980s and 1990s, the sets of the movie Fast Times at Ridgemont High and the TV series My So-Called Life utilized the same wooden desks, green chalk boards and dated info-graphics (Figs. 14 & 15) commonly seen in photos of

1950s classrooms (Figs.16 & 17).

Fig. 14xxvi Copyright Hollywood.com Staff

Fig. 15xxvii Copyright Fox All Access

Society

Fig. 17xxix Steve Marriott

In actuality, modern classrooms incorporate more stimulating use of color, modern, stain-resistant and cost-effective materials such as plastics and aluminum, and commonly utilize white marker boards instead of dusty chalkboards. (Fig. 18). So why is there this reverence to an era and a scene that the audience had not even personally experienced? Otto explains that “the post war years have been spent looking back, hopelessly locked in a pernicious, persistent nostalgia for a lost past. Nostalgia’s dependence upon the modern idea of time as ‘irreversible’ perfectly plays into the reasons humans invent images and long to hold onto them.”xxx (Otto, 2005, 463). Otto argues that the admiration media gives

18 toward nostalgic classrooms emotes the yearning for a simpler, purer time in America’s history (Otto,

2005, 461).

Fig. 18xxxi Jessica Paholsky

The combination of veneration towards childhood fun and the vintage styling that Hollywood gives classrooms make them an ideal vessel through which to attract Millennial hipsters. The idea of using a classroom setting as the inspiration for a nightclub does seem, at first glance, unworkable. There is the suggestion of authority, boredom and compulsory participation. However, grade-school classrooms are where most Milennials were first exposed to form art, music and literature courses, and often the first time they were able to sit down and use a computer. It is the curiosity, the creativity and spirit of fun of these rooms that must be captured in the translation to a music venue. As a place to not only watch performances robotically, but to also insert audience members into the space visually, whether through image projection, art installation or even participation within the music performance itself, the venue should be a place to celebrate new and emerging artists, and also ignite the imaginative spirit that many

Milennials lost once they graduated from formal education.

First, the spatial layout of classrooms should be examined. In pre-school through early elementary grades, children are permitted to crowd on the floor around the teacher for story time or social activities (Fig. 19), while grade school students’ desks are typically arranged in group pods, encouraging students to cooperate as groups (Fig. 20). The high school arrangement suggests autonomy and structure,

19 with each desk facing the teacher and chalkboard (Fig. 21). These layouts could serve as inspiration for the venue. While Demographic 1 prefers to organically crowd around the stage much like the preschoolers around their teacher, Demographic 2 would enjoy a more structured, possibly raised, seating arrangement, allowing them full view of the stage and preventing them from having to compete with

Demographic 1 for space. Demographic 3 would benefit from the grouped layout, suggesting that while they are giving their “teacher” some attention, their main purpose is to join together socially as in groups.

Combining these spatial arrangements of the classroom and nods to childhood pop culture through use of materials evoking a sense of play, or even emulating toy blocks will create a perfect space to spark creative thinking and appreciation. Projection of animation onto the walls of the venue will also evoke a sense of wistful fun and hopefully recreate the sense of joy and excitement that the original cartoons from their youth did as well.

Fig. 19xxxii Rob Manning/OPB

Fig. 20xxxiii James H. Stronge, Pamela D. Tucker and

Jennifer L. Hindman.

Fig. 21xxxiv Mitch Katz

21 Site Precedents

When devising the best direction to design a new music venue, it is important to remember that a designer cannot look forward without looking back. Described below are three notable music venues that have been examined for their spatial relationships and layout, in addition to their aesthetics and commercial intent.

Fac 51 Hacienda

Located at 11-13 Whitworth Street in Manchester, the Hacienda was open from 1982 until 1997, when an overwhelming amount of gang violence and illegal drugs forced its closure. According to Peter

Hook, one of the owners, the financial and physical status of the club left much to be desired as the years progressed. However, the Hacienda lives on in legend as one of the leading institutions for “acid house” music, and one of the few locations that successfully paired live performances with dance electronica, simultaneously educating a subculture of modern music fans.

Designed by architect Ben Kelly, the oversized factory building could accommodate 1200 people, but towards the later years of its heyday managed to fit in more than that on any given night. While Hook praises Kelly for creating a visually stunning and graphically bold interior, (Fig. 22) he found numerous logistical errors that plagued the club until its very end. For example, the glass roof caused heavy vibrations with the thump of the bass and kept the club too light and airy in the summertime until dusk finally settledxxxv (Hook, 2009, 35). Additionally, despite the large holding size of the venue, there were only four men’s toilets and eight women’s stalls, leading to long stretches of lines to wait, and often aggressive behavior; even bodily accidents were not uncommon xxxvi(Hook. 2009, 159). As the club’s years progressed, the materials inside started to show their wear, and even became dangerous on occasions: “On popular nights, when it got hot and wet inside the club, and the bass made everything throb, huge lumps of plaster would fall from the roof and hit people.”xxxvii (Hook, 2009, 222). Despite initially being a venue for only live performances, the stage was set to the side, with the deliberate

22 intention of introducing DJs and dance music in the future. The bar was on the far end of the venue, serving as the main visual focus for customers entering the space.

Despite the club’s financial hardships and the abundance of crime in the surrounding neighborhood, the Hacienda remains has one of the first clubs to introduce dance and the “superstar DJ” to Manchester while still hosting important live acts of the era, including The Smiths, Cabaret Voltaire, and the owners themselves, New Order. One of the enduring practices of the club was always to introduce new and emerging music trends onto the audience: “[W]hile this policy of playing different styles of music may have bewildered the audience at the time, it was to pay dividends in the future. The Hacienda was educating its customers, priming them for the genre-mashing rave and Madchester years ahead.”xxxviii

(Hook, 2009, 60).

Fig. 22xxxix Ben Kelly

The Knitting Factory

In its current location at 361 Metropolitan Avenue in Brooklyn, New York, The Knitting Factory serves as a small, intimate pub space holding live acts from many genres. According to architect and author Robert Kronenburg, the overall intent the designers had for the space was to serve as an accessible recording studio where customers could engage with the band in the stage area or hang back at the bar which was located in a repurposed sound board areaxl (Kronenburg, 2012, 78). While the space is small,

23 the layout allows for a mixed range of activities. The main entryway leads to the 42’ x 28’ bar, flanked by the ticket counter that directs to 55’ x 33’ concert space that holds a maximum of 300 people. The stage, measuring 24’ x 17’, has an audio/visual stand directly to its left and is positioned directly across from the mixing booth/bar,xli (Kronenburg, 2012, 78) (Fig. 23).

The bar in itself is a major feature of the club, allowing audience members to sit and enjoy a drink and conversation while still getting a full view of the performance (Fig. 24). This is due to the back of the bar having an expansive window wall with “two layers of thick glass and a 10 centimetre (four inch) vacuum space between.”xlii(Kronenburg, 2012, 78.). This allows patrons to hear the music at a lower volume, thus allowing them to continue their chats. This vantage point exists at the bar itself, however, so unless one manages to grab a spot at one of the stools, or is content with standing, the view becomes obstructed once they step away to sit in the lounge. However the overall success of The Knitting Factory is owed to its careful arrangement and layout of space, creating a place for both highly engaged and relaxed listeners.

Fig. 23xliii Copyright HeCHo

Fig. 24xliv Copyright The Knitting Factory

De Vorstin

Perhaps the most appropriate venue for critique is De Vorstin, a music venue, recording studio, artist house and place to collaborate and exchange ideas among other artists. Located on Koninginneweg

(Queen Street) in Hilversum, Netherlands, De Vorstin is a visual standout with its geometrically modern design, and projection of colored light through its glass walls. It offers two different performance spaces.

The first is a café that accommodates 300 and is primarily used for more relaxed, lower key shows. The stage is 33’ x 16’ and is placed in the center of the room, sunken below floor level. It is surrounded by tiered seating at its edge, and high top tables with seats by the bar (Figs. 25 & 26)xlv (Kronenburg, 2012,

143). The main hall, located on the floor above, is for larger, more energetic shows and can fit 850 peoplexlvi (Kronenburg, 2012, 143). It is spacious, at 590 square feet, and can fit 250 people seated, while the surrounding 262-square-foot balcony also offers seatingxlvii (Fig. 27) (Kronenburg, 2012, 146). The stage is 46’ x 26’ and is accompanied by an eight-foot square elevator for transporting equipment and instruments, which also connects to the top level of the building, which houses a recording studio and artist suites along with administrative officesxlviii (Kronenburg, 2012, 146.)

The entire building is dramatic through its design and layout, with glass walls, multiple staircases upholstered in ruby red carpet, and use of industrial materials, like metal and wire mesh (Fig. 28). But the most striking element of the building is the way it engages audiences and artists through performance and encourages creativity and collaboration through its administrative and recording facilities. As Kronenburg explains, “By engaging with the local community as a musical resource, but also as a stimulator for learning and involvement, De Vorstin provides a valuable model for how popular music venues can operate outside the purely commercial norm of supply and demand.”xlix (Kronenburg, 2012, 151). This model serves as an excellent example for design direction for the intended venue; however, De Vorstin caters to a board array of listeners and artists, and its design simplicity reflects that. It is important to

26 consider how the design could change if the venue was directed toward a more specific type of musical genre, such as indie.

Fig. 25l Jeroen Musch

Fig. 26li Jeroen Bram Muller

Fig. 27lii Robin Eggenkamp

Fig. 28liii Jeroen Musch

Site Analysis

The chosen location for this venture is 118 Brandywine Avenue in Downingtown, Pennsylvania.

(Fig. 29) Previously serving as an opera house in the early 1900s, it transformed into The Roosevelt

Theatre in the 1920s, offering live performances to citizens of what was then a small country village. The theatre suffered with the introduction of motion picture cinema and closed its doors in the 1950sliv (Baker,

28 2008, 1). It sat vacant for half a century, until the early 2000s when it was renovated and turned into a clean, albeit bland-looking performance space that holds an occupancy of 903 (Figs. 30 & 31).

Downingtown is located roughly 45 minutes west of Philadelphia and is considered to be an up-and- coming borough of Chester County, the most affluent county in the entire state. The proposed site is located in the center of town, close to numerous restaurants and a twelve-minute walk from the

Downingtown Septa/Amtrak station, making it accessible to Philadelphia and its suburbs and west into

Lancaster (a popular vacation stop for New Yorkers). The closest comparable venue would be Bam

Margera’s The Note, at 142 East Market Street in West Chester, a twenty-minute drive from downtown

Downingtown. The Note, while having the advantages of being in the thriving college town (home to

West Chester University) does not have a regional rail stop nearby. Out-of-towners generally must drive to reach the venue, and must deal with an overrun of college students and a serious lack of parking.

Fig. 29lv Copyright TREND 2012

Fig. 30lvi Copyright TREND 2012

Figs. 31 & 32lvii Greg Radford

31 By contrast, Downingtown offers numerous hipster-friendly spots including Station Taproom (a locavore restaurant and bar), Amani’s local organic BYOB, and Kimberton Whole Foods, a grocery store that sources from local farms and sells specialty food products for those who have allergies or prefer holistic medications. The town is also the headquarters for Victory Brewing Company, a craft beer brewery and restaurant with a national following. All of these establishments are within a short walking distance from 118 Brandywine, making its hipster neighborhood transition that much easier. The

Downingtown borough is also attractive to young couples and families due to its excellent public schools and affordable real estate. While it is still primarily a blue-collar town with a heavy Italian influence, more young couples and families are moving in for a quainter, suburban lifestyle that still has easy access to nightlife and shopping similar to what cities provide. Many of these individuals can be classified as

“yupsters” (a combination of yuppie and hipster), wanting to move away from the noise and chaos that typically accompanies the music scenes in West Chester and Philadelphia in favor of a quieter, family- friendly atmosphere. For these reasons the physical location and structure of 118 Brandywine make it the ideal site for this project.

Programming

The relationship between staff, audience and performer is a delicate one, and the interior of the site needs to be mindful of this fact and meet every party’s needs. For the audience there needs to be a bar for service of alcoholic beverages, open space for dancing and congregating, lounge space with furniture conducive to conversation and relaxing, adequate amount of restroom space and easy access to the outside for those who need a cigarette break or simply wish to enjoy the scenic views of the Brandywine Creek and the trees and open spaces adjacent to the site (Figs. 33 & 34).

Fig. 33lviii Copyright Google Maps

Fig. 34lix Copyright TREND 2012

For staff, there needs to be adequate space for storage and refrigeration of alcohol, mixers, and garnishes. There also needs to be private areas for staff to hold meetings, keep files and conduct administrative business. Sound booth and lighting tracks are also needed for optimal performance quality.

The performers will need a stage that is large enough to accommodate their equipment, and those involved in the artist sponsorship will require a recording studio with enough seating for a handful of paying members to view. There also needs to be small, but comfortable and stylish housing arrangements

33 for traveling artists and those who are recording. These arrangements will increase the overall performance, viewing and service experiences for all of those involved with the club.

Floor Plans

The venue will be divided into three levels, the basement, housing the restrooms and recording studio (Fig.37). This is to diminish the transmission of outside noise into the recording studio, and to allow added space for restroom accommodations. The first floor will hold the waiting areas, I.D. check, standing area, stage, and backstage equipment storage (Fig. 36). Finally, the second floor will contain the artist housing quarters to ensure privacy. It will also hold the balcony/lounge area that overlooks the stage

(Fig. 35).

OPENTO BELOW

Fig 35. Kristen Filoromo. Second Floor Plan, 118 Brandywine Ave, 2013. Revit drawing.

Fig 36. Kristen Filoromo. First Floor Plan, 118 Brandywine Ave, 2013. Revit drawing.

Fig 37. Kristen Filoromo. Basement Floor Plan, 118 Brandywine Ave, 2013. Revit drawing.

Materials

As previously mentioned, the style of indie culture is marked by a reverence for childhood nostalgia, vintage, that which is organic in nature, and a quirky sense of humor. The materials and aesthetics need to reflect these characteristics in order for clientele and performers to connect emotionally with the space. Traditional painted brick is an obvious choice for its warmth and nod to traditional pub

35 spaces (Fig. 38), but when paired with a colored or patterned safety glass (Fig. 39) that is reminiscent to childhood with its bold colors and intense shine, it creates a textural, layered look that is eccentric without seeming over the top. Wood paneling (Fig. 40), in addition to serving acoustical purpose, also represents an organic, natural material. Cork (Fig. 41), also natural, serves as a more affordable and proletariat alternative to marble, with its beautiful, rich veining and waterproof quality. This balance of the sophisticated and subtle, the bold and modern, the natural and thrifty, exudes the aesthetic ethos of indie culture.

Fig. 38lx

Fig. 39lxi DuPont SentryGlas Expressions

Fig. 40lxii (From left to right) SOLO Maple Acoustics & Armstrong Woodworks Custom Veneer

Fig. 41lxiii LISBON Curable Oil Natural CORK

As noted above, while the three demographics have the same passion and interest in new directions and trends in music, they have varying tastes and aesthetics. Demographic One prefers spaces that reflect retro stylings, paired with bursts of vivid colors and pictorial graphics (Figs. 42 & 43). They enjoy the appearance of hand drawn or do-it-yourself (“DIY”) decorations, and are not bothered by the somewhat “dive-like” appearance of bars and clubs.

Fig 42. Kristen Filoromo. Demographic 1 Materials Collage, 2013.

Photoshop Collage.

Fig 43. Kristen Filoromo. Demographic 1 Environments Collage, 2013. Photoshop Collage.

Conversely, Demographic Two enjoys more simplistic and rustic interiors. The interiors suited to

Demographic Two are warmer and aesthetically cleaner than those of Demographic One, opting for art and texture as opposed to graffiti graphics. Material re-adoption and reuse are celebrated, and natural materials (or those that imitate nature) without the fuss of ornate fixtures is ideal (Figs. 44 & 45). Simple patterns as opposed to bold graphics are preferred, as the focus is less on the interior and primarily on the performance at hand.

Fig 44. Kristen Filoromo. Demographic 2 Materials Collage,

2013. Photoshop Collage.

Fig 45. Kristen Filoromo. Demographic 2 Environments Collage, 2013. Photoshop Collage.

Finally, Demographic Three favors a more sophisticated approach, preferring metallic tones and textures without the distraction of what they may consider to be hokey graffiti favored by Demographic

One. They prefer more glitz and glamour than the earthy interiors of Demographic Two can provide, yet they practice restraint, leading towards the bright and flashy interiors of dance clubs popular in Europe.

Lighting fixtures, colors and furnishings are the central focus of capturing Demographic Three’s attention, in spaces that dictate comfort, exclusivity and chicness (Figs. 46 & 47).

Fig 46. Kristen Filoromo. Demographic 3 Materials Collage, 2013.

Photoshop Collage.

Fig 47. Kristen

Filoromo. Demographic 3 Environments Collage, 2013. Photoshop Collage.

To happily combine each of these three tastes into one cohesive interior is a challenge, as demonstrated by the proposed renderings below (Figs. 48 & 49). The overabundance and colors and patterns seem to clash un-harmoniously and create spaces that feel chaotic and unrefined.

Fig 48. Kristen Filoromo. Proposed Stage Rendering 1, 2013. Drawing with Pen and Markers.

Fig 49. Kristen Filoromo. Proposed Stage Rendering 2, 2013. Drawing with Pen and Colored Pencil.

45 Therefore, the central focus of interior divisions and décor should be defined by the ceiling and lighting, as demonstrated by the Lincoln Center’s Alice Tully Hall (Fig. 50), in a way that leads clients throughout the space and makes all three groups feel welcome. The following rendering attempts to capture that spirit through the lighting and color ways shown below (Fig. 51).

Fig 50. lxiv Copyright, The New York Times

Fig 51. Kristen Filoromo. Proposed Stage Rendering 3, 2013. Drawing with Pen and Markers.

Performance Venue

In order to effectively reach and target this cultural segment, special consideration must be taken to the behavioral, aesthetic and audial preferences of the 20-35 year old age group of indie enthusiasts.

Therefore, interviews were conducted among both audience members and performers from the

Washington, DC, and Philadelphia indie music scenes, in order to better gauge where the current availability of venues is lacking. In addition to probing questionnaires with potential clientele themselves, rigorous study into children’s merchandise and aesthetics in the 1980s is also considered, as a nod both to indie’s reverence for childhood nostalgia, and vintage styles and fashion. Literature pertaining to traditional “vintage” classrooms along with the colorful plastic school furniture of the 1980s and 1990s will help develop a direction for the overall spirit of the club, creating a fun, stimulating atmosphere that sparks creativity and joy in artists and audience members.

Aside from the clichéd punk rock pubs typical of the indie scene, there are a handful of venues that cater to a specific niche or theme. One such place in Washington, DC, is Eighteenth Street Lounge located in the trendy Dupont Circle neighborhood. As one of many establishments owned by mid-tempo electronica group Thievery Corporation – and one of the most successful – Eighteenth Street Lounge caters to a more sophisticated, moneyed clientele than the typical show-goers, by combining elements of escapism and exclusivity. The décor is lush and neoclassical, with dimly lit lounges with rococo elements

(Fig. 52). The entrance is unmarked, requiring visitors to already be familiar with the venue, either through previous attendance or word of mouth. Despite this fresh take on the performance space – weekly performances include jazz, soul and electronica – the interiors and layout are off putting to the less stylized indie subculture. According to R.H., a 31-year-old performer in the Washington, DC, indie scene,

“It’s decorated like my grandmother’s living room rather than a ‘rock and roll’ type vibe. The place actually feels sort of like a rich person’s house, it’s broken into rooms that feel like parlors.” (R.H.,

47 interview by Kristen Filoromo, Downingtown, PA, September 18, 2012). R.H.’s preferences for a music space are more about substance than décor, demanding “DJs who push the envelope, a booker that curates and doesn’t just book any old bull**** band, décor that’s kind of off-kilter without being cheesy, and being in an area that’s not about to be overtaken by bros.” (R.H., interview). By definition, R.H. could be classified as a patron of Demographic One – an avid music enthusiast and artist, he finds inspiration not only from attending and performing at shows, but from the involvement with the rest of the crowd. As a performer, the division between himself and the stage is less defined, and therefore he may feel more drawn toward it. Either way, R.H. finds himself hungry for a space where experiencing the music is the primary focus – not a sleepy, restrained experience, and not a superficial enclave either.

Fig. 52lxv Copyright Eighteenth Street Lounge

Aside from general aesthetics, community spirit and feeling of inclusiveness is also paramount in selecting a music venue. E.K., a thirty-year-old university enrollment manager and recreational music performer explains that it is the spirit of camaraderie between audience members and artists that makes a venue exciting:

My favorite places to play…are small, relatively clean, friendly to artists, and always

crowded with folks [interested] in catching local music. Depending on your devotion to

the whole thing, you can usually catch some pretty big-name acts at these smaller places

48 too, which is good because you can generally catch these guys and talk to them and

they’re totally fine with it all. It makes you feel like you’re a part of the same thing as

some of the people that you admire, which is a great feeling. (E.K., Interview by Kristen

Filoromo, Downingtown, PA, November 24, 2012).

Peter Hook, founding member of indie staple Joy Division and owner of former Manchester nightclub

The Hacienda, described above, echoes these sentiments, describing that the broken barrier between artist and audience became a major selling point of the club:

“Unlike other clubs, the Hacienda didn’t have a VIP area. At the time, of course, that felt

like a mistake, but during our heyday it was part of the club’s appeal. No VIP area meant

that celebrities had to mix with the regular punters instead of hiding behind a velvet rope.

You could go into the Hacienda and stand at the bar next to Shaun Ryder, find yourself

dancing alongside Ian Brown.”lxvi (Hook, 34).

It is for these reasons that the club should incorporate a feeling of accessibility between the audience and performers. These sentiments strongly encourage the absence of a green room and instead suggest an open space that unites artists and fans, rather than dividing them.

While cohesion of artists and audience members is a direct goal of the space, there should be the opportunity for separation between the various demographics of the audience. While the main target of this music space should appeal to the financially and professionally established mid-twenty-to-thirty something, the venue should also accommodate younger audiences. Members of Demographic Three, the aging hipster clientele with an appreciation for and focus on professional and family life, need a removed space to congregate. One indie enthusiast in the Philadelphia scene is S.C., a thirty year old instructional designer from the suburbs who prefers a more relaxed, serene viewing experience, usually found in a lounge setting with a bar and comfortable seating. S.C. explains that because her time out is limited (in addition to a demanding career, she has an infant daughter) she expects a level of viewing quality to her

49 experiences that extend outside simply watching a band perform. “[I] would sometimes avoid places where there is live music because of where the musician was placed (i.e. way too close to the crowd and way too loud).” (S.C., interviewed by Kristen Filoromo, Downingtown, PA, November 28, 2012). She also explains why these material comforts of the lounge are important to her: “I like to be comfortable and not have to fight my way to get to the bar to get a drink…I also am usually wearing ridiculous shoes and my feet hurt.” (S.C., interview). S.C. is typical of demographic 3, in that she focuses on the viewing experience as an event, a way not only to discover and appreciate new music, but also to unwind and relax from daily stress. Conversely, M.F., a 26 year old non-profit project coordinator prefers to be more engaged with the music, largely dismissing social interactions and finding performances to be her only focus at music venues:

“For a number of reasons I usually stay in the back. I don’t like getting pushed around or

having people super tight around me. I feel like the speakers/amps are usually just really

painful to be bear when I’m up close, also. But I like to be engaged in the music. I think

it’s usually pretty rude to be like at the bar while a band is playing. It’s not very

supportive.” (M.F., interviewed by Kristen Filoromo, Downingtown, PA, November 19,

2012).

M.F. is a quintessential example of Demographic Two, in that she is an educated professional who concerns herself with public interest issues like agriculture and the arts, yet isn’t occupied with the demands of family life. She no longer has the tolerance to crowd up front near the band, but still views the performance as the most enjoyable and most important experience at the venue. She prefers to stand towards the back of the crowd and silently focus on the artists. While M.F. finds the distraction of the lounge to be off-putting, S.C. finds the standing room crowd to be noisy and uncomfortable, thus the general viewing area and the lounge must be in physically separated areas, but still have equally close access to the stage to view the performance.

50 Stage Setup

In Most traditional venue plans, the stage is positioned towards the back or in a corner, as evidenced by the floor plan of the 100 Club, a London institution for live music (Fig. 53). This is to allow sound waves to project forward towards the audience, for maximum volume and sound detail. Inspired by sound engineer, John Vasey’s Schematic of Monitor System drawing (Vasey, 75), the Proposed Stage

Monitor Schematic Diagram (Fig. 54) allows for simple layouts of audio equipment and instruments, including the music console at the front of the house, the monitor mixer that controls all stage audio equipment, and the snake that connects the two.

Fig. 53lxviiCopyright 100 Club

Fig 54. Kristen Filoromo. Proposed Stage Monitor Schematic Diagram, 2013.AutoCAD Drawing.

This layout, while achieving the goals of audio maximization, fails to engage the audience and the artist in a close and intimate fashion. For these purposes, a centrally located stage, inspired by the typical “theater in the round” layout is needed to decrease physical separation between the two. Author

Scott Hunter Stark argues that placing the front of house console slightly right of center allows the sound engineer to get a better indication of what the audience is hearing. The acoustical challenges proposed by having a centrally located stage can be mediated, by locating the single front of house console in front of and slightly right of the center of the stage (to ensure accurate reception of sound) (Stark, 259), placing the snake underneath the floorboard to be out of reach of clientele, and locating the monitor mixer directly

52 behind the stage, and underneath the lounge (Fig. 55). This ensures that sound quality and physical intimacy will not be compromised in the final design.

Fig 55. Kristen Filoromo. Stage Floor Plan, 2013. Revit Drawing.

The stage also incorporates a dipped floor, or dance pit directly in front of it, as a place designated for the most active audience participants (Demographic One), and those who want to enjoy reveling in the music without disrupting the more stoic listeners (Fig. 56). The area behind the dance pit will be designated primarily for freestanding audience members (typical of Demographic Two), but will also incorporate block partitions at the dance floor, for ease of egress and convenience for leaning to rest.

Fig 56. Kristen Filoromo. Stage Rendering, 2013. Photoshop Collage with Revit Underlay.

Lighting

Most performances halls utilize light and darkness as ways of instilling senses of intimacy and drama, and the lighting for this venue will be relatively standard. Three straight scaffolds and three circular (Figs. 59 & 60) will be fitted with sets of both PAR 64 lamps and ICON lamps (Figs. 57 & 58), allowing for quick changes in light output and color, and movement throughout the space.

Fig. 57lxviiiCopyright, KAM.

Fig. 58lxix Copyright, woodbyte.

Fig. 59lxx Copyright, Show Group Production Services

Fig. 60lxxi Copyright, chaoda

In addition to stage lighting, the curved ceiling will hold lighting for the lounge, lounge bar, dance pit, and surrounding viewing area. The use of recessed cans (Fig. 61) and “pendant” lights that do not drop more than 5” below the ceiling (Fig. 62) on iron rods is present, to reduce the level of vibration and sway.

These layouts and lamps chosen have been illustrated in the reflected ceiling plan for the space (Fig. 63).

Fig. 61lxxii Copyright Lightolier

Fig. 62lxxiii Copyright Jonathan Adler

Fig 63. Kristen Filoromo. Stage, Lounge and Stand Room Reflected Ceiling Plan, 2013. AutoCAD drawing.

57 Acoustics

As a music hall, the space requires effective sound acoustics and engineering. The stage plan

(Fig. 64) illustrates the typical placement of instruments and monitor speakers, amplified speakers and the accompanying monitor mixer and sound control booth. The control booth is located center-right from the stage, giving the engineer accurate sense of how the sound projects to the audience. The amplifier speakers and ceiling speaker cluster project the sound towards the audiences both in front and back of the space, and the monitor speakers allow the artists to hear themselves and their sound output. The monitor mixer located behind the stage, along with the snake located beneath the floorboard, provide the controls and synchronicity between all of the equipment.

Fig 64. Kristen Filoromo. Stage Acoustical Plan, 2013. AutoCAD drawing.

The speakers, coupled with the curved ceiling and stage back, project the sound out towards audiences throughout the space. The amplifier speakers and speaker cluster project sound directly towards the front audience in the dance pit and the curved ceiling carries the sound waves farther back to those in the standing area and the bar, as illustrated in the North Section drawing (Fig. 65). The cluster speakers also project sound towards the balcony lounge, but since the amplified speakers face the other way, the sound is at a lower volume, making it appropriate for lounging and conversation.

Fig 65. Kristen Filoromo. North Section, 118 Brandywine Avenue, 2013. Revit drawing.

Artist Spaces

As a way for fans to actively support artists in addition to attending shows, this venue will house a recording studio and adjacent hospitality suite and will sponsor artists with recording and free lodging in exchange for fans having access to recordings, and for artists to have easy access to one another for spontaneous collaboration. As E.R., a twenty-year-old musician and preschool music teacher explains, the close housing proximity “does wonders for workflow,” (E.R., interviewed by Kristen Filoromo,

Downingtown, PA, November, 23, 2012), as does easy access to various last minute supplies that are often forgotten or lost when transporting instruments: “Almost every day in-studio comes with a moment of ‘awh, man. I forgot [strings, picks, a new cable, et cetera].’” The comfort and ease of adjacent hospitality and supply library allows the artist to take needed breaks from recording during stressful or frustrating sessions, allowing them to clear their minds and refocus on the project at hand, without physically leaving the building. It also allows an intimate space for artists to collaborate with one another without financial pressure, an activity that 28-year-old music therapist and artist A.G. finds to be vital in creative growth: “The most enjoyable [sessions] have been recordings I myself have done working with other creative individuals who enjoy the artistic aspect of it…not being bound by having to pay for it

59 allows more creativity in my opinion.” (A.G., interviewed by Kristen Filoromo, Downingtown, PA,

November 19, 2012). Whether artists record as collaboration, or as a sole unit, good studio layout is imperative to creating a good finished product. E.K., the enrollment manager and music artist mentioned previously, describes the optimal layout as:

“Good separation between the recording equipment and the microphone room, the ability

to cordon off instruments so that their microphones do not pick up other sounds, good

insulation, good room noise for a natural, live feel. Also less important, but soft lighting.

Doing anything under fluorescent lighting sucks pretty hard.” (E.K., interview).

Proper insulation and adequate space are essential in creating a proper functioning studio, so the interior should have at least nine hundred square feet to comfortably accommodate various performers and instruments. Primarily, the space should be comfortable, user-friendly and able to accommodate large groups or even small audiences on occasion. An effective studio space ensures quality and enthusiasm of performers and creates a satisfying and engaging relationship between artists and fans.

Housing

Housing details for visiting artists must include the basic necessities for comfortable living, including a living/entertainment room, kitchenette with dining area, two restrooms and three bedrooms with bunk bed to comfortably accommodate groups of six with two sofas in the living area for extra sleeping arrangements (Fig. 66). The entryway should be in an area that is away from the bustle of the audience, and in an area of privacy, notably the upper level of the building, above and closed off from the entryway. The interior space should feel open and easily accessible for the band members and should be located opposite the building from the recording studio, in order to ensure peace and privacy from artists who need a break from the long and arduous tasks of recording.

Fig 66. Kristen Filoromo. Artist Housing Floor Plan, 2013. Revit drawing.

The interior of the living space should project a sense of warmth and comfort, yet still inspire creativity. The use of reclaimed wood flooring and the exposed stone walls of the building speak to the love of natural materials and sustainability that Demographic 2 yearns for, while the mid-century modern furnishings appeal to Demographic 3. The use of color and pattern, meanwhile, appeals to artists in

Demographic 1. Thus, the interior presents itself as a fitting home away from home for most artists (Fig.

67).

Fig 67. Kristen Filoromo, Artist Housing Rendering. 2013. Photoshop collage with Revit underlay.

Recording Studio

The Recording Studio is located in the basement of the building to ensure containment of sound.

This is especially important since the site is located in a residential area of Downingtown, surrounded by rowhomes. The layout of the studio is fairly typical, with an area for mixing equipment, lounging, a powder room, large open recording area and small vocal booth (Fig. 68). The entrance to the studio is in

62 the back of the lounge, separated with a wall, to ensure privacy and security. There is also enough space for a limited amount of seating should select fans or entourage be present during recording sessions (at the artists’ discretion). This creates a practical, yet interactive area for artists to collaborate and for fans to get an exclusive insight into the creative process of their favorite bands.

Fig 68. Kristen Filoromo, Recording Studio Floor Plan, 2013. Revit drawing.

The interior of the studio utilizes the naturally sound-absorbent material of cork for ceiling tiles.

Hexagonal foam acoustic panels grip the wall adjacent to the sound control desk, and the warm color

63 palette paired with the same wallpaper and furnishings, mimics the comfortable, inspiring atmosphere of the artist housing (Fig. 69). Despite being located on opposite ends of the building, the housing and recording studio have an aesthetic tie between the two.

Fig 69. Kristen Filoromo, Studio Rendering, 2013. Photoshop collage with Revit underlay.

64 Audience Spaces

As mentioned previously, the common areas for audience members and fans to gather must be easily accessible, aesthetically pleasing with a sense of nostalgia and sophistication, and provide excellent access to the performance at hand, no matter where the members are located.

Entry

Given the excitement of live music and alcohol in a contained environment, it is imperative that security and safety be addressed within the design of the floor plan, particularly in the area of the entrance

(Fig. 70). There are three considerations that must be addressed successfully within the space. First, there is the element of security, where audience members can be screened for possible inebriation and hostility within clear view of a bouncer. The entry should create an orderly filing of people that also directs the audience to the appropriate area of viewing in a fast and safe manner. ADA compliant restrooms are located adjacent to the entry for downstairs restrooms, to ensure accessibility for all patrons. Fire and emergency exits should be located in appropriate settings to support a swift and orderly exit in the event of a dangerous incident. Finally, any entrance should be able to accommodate large crowds with some kind of shelter, as the site’s climate calls for cold winter months with heavy precipitation throughout the year.

Fig 70. Kristen Filoromo, Entry Floor Plan, 2013. Revit Drawing.

The Waiting Area itself should project a sense of calm, ease and retro sensibility to entice the intended audiences. This area is especially appealing to those in Demographic Three, who desire an upscale, yet modern area for respite from the noise and activity of the main venue. The use of neutral tones with small pops and color and industrial elements like metal bricks and sconces creates an upscale, yet unfussy experience and a welcoming, comfortable gathering space (Fig. 71).

Fig 71. Kristen Filoromo, Waiting Area Rendering, 2013. Photoshop collage with Revit underlay.

Restrooms

The rest rooms will be located on the basement level. They will provide an adequate number of stalls in sex-segregated areas. Four traditional sized stalls at 6’-6’’ deep by 5’ wide and one larger stall 8’

67 deep by 8’ wide will be available for both sexes. The sinks will be located in a communal unisex area, allowing for socialization and conversation (Fig. 72).

Fig 72. Kristen Filoromo, Restrooms Floor Plan, 2013. Revit drawing.

The aesthetics of the restroom itself will lend to a clean, airy feel, with use of porcelain, wood, cement and ceramic (Fig. 73). Linoleum floors with a granite pattern will be used for easy cleaning and affordability.

Fig 73. Kristen Filoromo, Restrooms rendering, 2013. Photoshop collage with Revit underlay.

Lounge

The Lounge, while initially intended to be on the same level as the stage, will have to be moved above, so that the floor below can accommodate a wall to project and move sound. Therefore, the lounge should be raised, but still located on the opposite side of the stage from the dance pit, ensuring a

69 separation for a realm of leisure and conversation (Fig. 74). The seating arrangements incorporate the standard back bar with stools, along with forward facing lounge seating grouped together for conversation and direct views of the artists. There is also booth seating and tables located towards the back corner of the lounge for those who wish to engage primarily in conversation without disturbing those who are actively viewing the show.

Fig 74. Kristen Filoromo, Balcony/Lounge Floor Plan, 2013. Revit Drawing.

Since the Lounge mainly caters to patrons from Demographic 3, the materials and furnishings lend themselves to mid-century modern furnishings, and turn of the century lighting and materials (Fig. 75).

This projects a quirky, yet sophisticated aesthetic, suitable for relaxation, conversation and casual viewing.

Fig 75. Kristen Filoromo. Balcony/Lounge Rendering, 2013. Photoshop Collage with Revit Underlay.

Final Thoughts/Contribution

The indie music scene and related culture provides creative stimulation for listeners, and scenesters’ cash flows into underdeveloped urban areas. Therefore, it is worthwhile to develop a space that nurtures the relationship between aging enthusiasts and the music scene in order to promote the growth of both local neighborhoods and the arts. The design of this venue will marry vintage quirkiness that is relatable to Milennials and a spatial layout that encourages intimacy between performance and audience. The co-op will also foster sponsorship for artists to create without the hefty financial burden typical of most recording sessions. This venue will benefit not only the members and artists associated with it, but will also stimulate the sleepy borough of Downingtown and further invigorate its path toward a cultural destination within the Philadelphia suburbs and an emerging bastion of indie culture.

71 There remain, however, questions and issues that need to be resolved in the design. One criticism is that the three demographics profiled in this paper are possible caricatures or broad stereotypes of the indie music scene, or “hipster culture.” It may serve researchers well to identify more groups or perhaps pare down the details of the groups already established. This might make it easier for patrons to better identify which sect best projects their interests and place within the venue. Certainly, most patrons engage in various types of activity throughout a show as it progresses, but it may be possible to better identify needs and preferences through expanded research.

A second area to address is the equipment/loading area. Perhaps it should be more developed and less of an open space, by including, for example, seating or areas for employees to rest and relax out of sight of the public during breaks. There may also be design elements that could be added to make movement and transportation of equipment easier and faster. More design exploration could yield an effective answer. In the drawing provided, the idea of a secure locked storage area is explored, in addition to a small makeup/prep desk and powder room available for artists in between sets (Fig. 76).

Fig 76. Kristen Filoromo, Proposed Loading/Dressing Area Plan,

2013. Revit Drawing.

Given that Downingtown is a suburb of Philadelphia surrounded by countryside, it might be worth exploring the element of locavore culture that is prevalent in the target demographic. In addition to the nightlife element the venue provides, it could be profitable to explore housing a farmers market or creating an urban garden on the property. The adjacent stream in the rear of the site and the beautiful views accompanying it could be celebrated through the development of outdoor social areas, either through a raised deck or a flattened area with seating.

73 Unlike many entertainment venues, The Music Co-Op does not serve food, but given the ready availability of alcohol, it might be worth researching the possibility of adding a kitchen and food service for patrons, both for enjoyment and to decrease the incidence of acute intoxication. It might be possible to blow out the area of the basement that is not in use and create areas for food prep, storage and service.

Given that this area is just over 2900 square feet, there is ample space for developing a modestly sized industrial kitchen. The biggest obstacle would be creating a means of egress from the center of the basement level to the second floor lounge, which given the numerous chairs and surfaces would be the most appropriate area to serve food. Perhaps creating a passage that goes through the back of the studio, without disturbing those using it, could be suitable. That way, service help could use the same staircase that leads to the corner of the lounge for entry.

One suggestion that this author struggled with the most, was the decision of whether or not to include facilities for children, as many members of Demographic Three have children. Given the already- significant challenge of creating an environment that appealed both to young adult audiences and aging music enthusiasts, it was ultimately determined that for the purposes of this thesis the venue would remain an adults-only environment. It could, however, benefit the space to explore possible ways of creating kid-friendly atmospheres, without sacrificing the “coolness” factor of the interior. Since much of the aesthetics are based around nostalgia, the concept could be workable, with adequate spaces for play, and furniture and fixtures that meet the height limits of children, in addition to child friendly materials.

While there are many possibilities worth exploring in the final design of 118 Brandywine

Avenue, the most important objective has been achieved: creating a space that engages music fans and artists collectively, without failing to identify and accommodate the different listening styles that each group brings. Artists are supported enthusiastically and financially, bringing emerging trends and creativity in music to the forefront in the blossoming suburbs. Through study of music, pop culture, sociology and design, The Music Co-Op provides a haven for music creativity not only for future generations, but the ones currently cultivating it.

74 Appendix: Presentation Boards

Fig. 77. Kristen Filoromo, The Music Co-Op Board 1, 2013. Mixed Media Collage.

Fig. 78. Kristen Filoromo, The Music Co-Op Board 2, 2013. Mixed Media Collage.

Fig. 79. Kristen Filoromo, The Music Co-Op Board 3, 2013. Mixed Media Collage.

1. i Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, (Middletown: Wesleyan University Press, 2006), pg. 27 2. ii Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, (Middletown: Wesleyan University Press, 2006), pg. 46 3. iii Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, (Middletown: Wesleyan University Press, 2006), pg. 113 4. iv Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, (Middletown: Wesleyan University Press, 2006), pg. 19

5. v Moyna, Margarite Collar, 2012. Silk, faux pearls, crystal, glass beads, 14"L, 1.5"W, 7" drop, From: BHLDN LLC, http://www.bhldn.com/shop-shoes-accessories-jewelry/margarite-collar/productoptionids/b8df1319-232a-4c6f-a05d-cdf74da57ed1 (accessed October 24, 2012).

6. vi Urban Outfitters Inc., Montauk Madras Necktie, 2012. Cotton, silk, 2.25’’W. From: Urban Outfitters Inc, http://www.urbanoutfitters.com/urban/catalog/productdetail.jsp?id=25179359&parentid=MENS_ACCESSORIES (accessed October 24, 2012). 7. vii Margaret Wappler, “Kelly Clarkson endorses Ron Paul; incurs wrath from Twitter,” The Los Angeles Times, (Los Angeles, CA) Dec. 29, 2011. http://latimesblogs.latimes.com/music_blog/2011/12/kelly-clarkson-endorses-ron-paul-incurs-wrath-from-twitter.html 8. viii Alyssa C, nothing at the farmer’s market tastes as good as licking yourself, 2010. Digital color photograph. From: Hipster Puppies (blog), http://hipsterpuppies.tumblr.com/post/729160164/nothing-at-the-farmers-market-tastes-as-good-as (accessed October 24, 2012). 9. ix Dan McFarland, Kelly Clarkson T-Shirt, 2012. Digital color photograph. From: Low Times Podcast.com, http://www.lowtimespodcast.com/design-the-worst-band-shirt-ever-the-31-finalists/ (accessed October 25, 2012). 10. x Kristen Filoromo. Demographic 3. 2012, Color Image Collage. Utilizing the Following Images (Clockwise from Top Left): a. Deetzzz, Untitled, 2012. Color Photograph. From: Flickr, http://www.flickr.com/photos/86614542@N07/7934700994/ (accessed December, 12, 2012). b. BIGRUBE STREET STYLE GAZING, Philadelphia Daily News Street Gazing column, Stripe it up, 2012. Color Photograph. From: Streetgazing/Philly.com, http://www.streetgazing.com/2012/06/philadelphia-daily-news-street-gazing.html (accessed December 12, 2012). c. Jen Killius, The Clover Club: A True Classic, 2011. Color Photograph. From: Drink Baltimore, http://baltimore.thedrinknation.com/articles/read/5732-The-Clover-Club-A-True-Classic# (accessed December 12, 2012) d. Copyright BHLDN LLC, Twinkling Kitten Heels, 2012. Color Photograph. From: BHLDN, http://www.bhldn.com/index.cfm/fuseaction/product.detail/_/twinkling-kitten-heels/productID/b9d6df28-eb9f-4613-b1e5- ff38e7ee69e1/categoryID/1ca01b2d-bc7c-42ad-84e9-20d4651f56ed/productOptionIDS/4d1bb595-74cf-4c15-b890- 0801c63f7a9e (accessed December 12, 2012). e. Urban Outfitters Inc., Montauk Madras Necktie, 2012. Cotton, silk, 2.25’’W. From: Urban Outfitters Inc, http://www.urbanoutfitters.com/urban/catalog/productdetail.jsp?id=25179359&parentid=MENS_ACCESSORIES (accessed October 24, 2012). f. , Moyna, Margarite Collar, 2012. Silk, faux pearls, crystal, glass beads, 14"L, 1.5"W, 7" drop, From: BHLDN LLC, http://www.bhldn.com/shop-shoes-accessories-jewelry/margarite-collar/productoptionids/b8df1319-232a-4c6f-a05d- cdf74da57ed1 (accessed October 24, 2012). g. Copyright Resolution 4 Architecture, Pineapple Loft, 2003. Color Photograph. From: Resolution 4 Architecture, http://re4a.com/projects/pineapple-loft/ (accessed December 12, 2012). h. 11. xi Kristen Filoromo, Demographic 2. 2012, Color Image Collage. Utilizing the following images (Clockwise from top left): a. Joel Bedford, Torch, 2007. Color Photograph. From: Flickriver: http://www.flickriver.com/photos/jalex_photo/451947913/ (accessed December 12, 2012). b. Copyright Milestones Grill and Bar, California Eggs Benedict with Shrimp ($12.99) from Milestones Restaurant in Vancouver, 2009. Color Photograph. From: Dine Out Here, http://www.dineouthere.com/restaurants/weekend-brunch-at-milestones- restaurant-kitsilano (accessed December 12, 2012) c. Lindsay Beyerstein, Tomatoes at Union Square, 2006. Color Photograph. From: Flickr, http://www.flickr.com/photos/12481400@N00/267738596/ (accessed December 12, 2012) d. Copyright 2012 Paul Smith, Paul Smith Cufflinks- Naked Lady Cufflinks, 2012. Color Photograph. From: Paul Smith, http://www.paulsmith.co.uk/us-en/shop/mens-naked-lady-cufflinks.html, (accessed December 12, 2012) e. Tom R, Self, 2012. Digital Photograph. From: Flickr, http://www.flickr.com/photos/68026922@N03/7869403092/in/pool- postureos_afoteros/ (accessed December 12, 2012) f. BIGRUBE STREET STYLE GAZING, Philadelphia Daily News Street Gazing column, T-shirt style, 2012. Color Photograph. From: Street Gazing/Philly.com, http://www.streetgazing.com/2012/05/philadelphia-daily-news-street-gazing_18.html#links (accessed December 12, 2012) g. Ginnerobot, Untitled, 2008. Color Photograph. From: Flickr, http://www.flickr.com/photos/ginnerobot/2549674296/ (accessed December 12, 2012) 12. xii Kristen Filoromo, Demographic 1. 2012, Color Image Collage. Utilizing the following images (Clockwise from top left):

a. Teo Morabito, Lens whacking the universe - D800 14mm – explored, 2012. Digital Color Photograph. From: Flickr, http://www.flickr.com/photos/teomorabito/7078653475/in/pool-1870397@N25 (accessed December 12, 2012). b. Urban Camper, Woody, 2011. Color Photograph. From: Flickr, http://www.flickr.com/photos/60915909@N00/5711398983/ (accessed December 12, 2012) c. Tyler Axtell, dislike, 2010. Color Graphic. From: Flickr, http://www.flickr.com/photos/adinoismyfriend/4964648303/ (accessed December 12, 2012) d. BIGRUBE STREET STYLE GAZING, Philadelphia Daily News Street Gazing column, T-shirt style, 2012. Color Photograph. From: Street Gazing/Philly.com, http://www.streetgazing.com/2012/05/philadelphia-daily-news-street-gazing_18.html#links (accessed December 12, 2012) e. Baratunde, I Am A Community Organizer (300x243), 2008. Digital Color Graphic. From: Flickr, http://www.flickr.com/photos/baratunde/2837373493/ (accessed December 12, 2012) f. Alyssa C, nothing at the farmer’s market tastes as good as licking yourself, 2010. Digital color photograph. From: Hipster Puppies (blog), http://hipsterpuppies.tumblr.com/post/729160164/nothing-at-the-farmers-market-tastes-as-good-as (accessed October 24, 2012). g. Dan McFarland, Kelly Clarkson T-Shirt, 2012. Digital color photograph. From: Low Times Podcast.com, http://www.lowtimespodcast.com/design-the-worst-band-shirt-ever-the-31-finalists/ (accessed October 25, 2012). 13. xiii Adam Shane, Sean- Cigarette Closeup, 2009. Digital color photograph. From: Flickr, http://www.flickr.com/photos/91803897@N00/3772516157/ (accessed September 6, 2012). 14. xiv Copyright Creators Project Staff, It’s Live Music Week On The Creators Project!, 2010. Digital color photograph. From: The Creators Project, http://thecreatorsproject.com/blog/its-live-music-week-on-the-creators-project (accessed December, 12, 2012). 15. xv Shane Homan, “Geographies of NOISE” Youth Studies Australia 22, no. 2 (2003): 12-18. 16. xvi Lee Higgins, “Growth, pathways and groundwork: Community music in the United Kingdom,” International Journal of Community Music 1, no. 1 (2008): 23-37. 17. xvii Copyright Emily Wren, Pocket Farm, 2011. Color Photograph. From: Facebook, Pocket Farm. https://sphotos- a.xx.fbcdn.net/hphotos-ash4/309862_252875421411331_5065716_n.jpg (Accessed December 13, 2012). 18. xviii Lee Higgins, “Growth, pathways and groundwork: Community music in the United Kingdom,” International Journal of Community Music 1, no. 1 (2008): 23-37. 19. xix Merris Griffiths and David Machin, “Television and Playground Games as Part of Children’s Symbolic Culture,” Social Semiotics 13, no. 2 (2003): 147-160. 20. xx M.V. Sokolova, “Modern Cartoon Characters in Children Play and Toys” Psychological Science and Education, no. 2, (2011): 49- 54. 21. xxi M.V. Sokolova, “Modern Cartoon Characters in Children Play and Toys” Psychological Science and Education, no. 2, (2011): 49- 54. 22. xxii M.V. Sokolova, “Modern Cartoon Characters in Children Play and Toys” Psychological Science and Education, no. 2, (2011): 49- 54. 23. xxiii George H. Lewis, “From Common Dullness to Fleeting Wonder: The Manipulation of Cultural Meaning in the Teenage Mutant Ninja Turtles Saga” Journal of Popular Culture 25, no. 2 (2005): 31-43. 24. xxiv George H. Lewis, “From Common Dullness to Fleeting Wonder: The Manipulation of Cultural Meaning in the Teenage Mutant Ninja Turtles Saga” Journal of Popular Culture 25, no. 2 (2005): 31-43. 25. xxv Copyright Lionsgate Home Entertainment. Teenage Mutant Ninja Turtles: The Complete Classic Series Collection. 2012, Color Animation. From: DVD Talk. http://www.dvdtalk.com/reviews/57983/teenage-mutant-ninja-turtles-complete-classic-series-collection- 23-disc-dvd-set/ (Accessed December 6, 2012). 26. xxvi Copyright Hollywood.com Staff. Fast Times at Ridgemont High Movie Stills. 2008, Film Still Image Capture. From: Hollywood.com. http://www.hollywood.com/photo/Fast_Times_at_Ridgemont_High_Movie_Stills/5220747#p2,g5220747 (Accessed December 6, 2012). 27. xxvii Copyright Fox All Access. 2011. Color Photograph. Claire Danes Reflects About the Demise of My So-Called Life. From: Fox All Access Blog. http://foxallaccess.blogs.fox.com/2011/11/27/claire-danes-reflects-about-the-demise-of-my-so-called-life/ (Accessed December 6, 2012). 28. xxviii Copyright 2012 Weston Historical Society. A 1950s classroom at Weston High School. Black and White Photograph. A Short History of the Field School. From: Weston Historical Society. http://www.westonhistory.org/Extra-HTML-pages/Field-School- Topic.html (Accessed December 6, 2012). 29. xxix Steve Marriott. 1950s classroom. Page 202. “How the teacher works out his ranking system I’m not sure.” From: Book Drum Beyond the Page. http://www.bookdrum.com/books/we-never-had-it-so-good/9781903506288/bookmarks-201-225.html (Accessed December 11, 2012). 30. xxx Stacy Otto, “Nostalgic for What? The Epidemic of Images of the mid 20th Century Classroom in American Media Culture and What it Means,” Discourse: Studies in the Cultural Politics of Education 26, no. 4 (2005): 459-475. 31. xxxi Jessica Paholsky, Park Forest Elementary School Kindergarten teacher Debbie Patrick prepares her classroom for the next lesson. 2011, Color Photograph. Local school districts balance class sizes. From: Voices Web, Voices of Central PA. http://voicesweb.org/local-school-districts-balance-class-sizes (Accessed December 5, 2012). 32. xxxii Rob Manning/OPB, Kindergarteners sit for story time. 2012. Color Photograph. Successful Seniors Start Out as Playful Preschoolers. From: Oregon Public Broadcasting. http://www.opb.org/news/series/learningwithless/successful-seniors-start-out-as- playful-preschoolers/ (Accessed December 6, 2012).

33. xxxiiiJames H. Stronge, Pamela D. Tucker and Jennifer L. Hindman, Mandrel's Current Classroom Layout. 2004, Black and White Drawing. Handbook for Qualities of Effective Teachers. From: Association for Supervision and Curriculum Development http://www.ascd.org/publications/books/104135/chapters/Classroom-Management-and-Organization.aspx (Accessed December 5, 2012). 34. xxxiv Mitch Katz, A Traditional Classroom. 2012, Black and White Drawing. LEARN NC, a program of the University of North Carolina at Chapel Hill School of Education From: The University of North Carolina at Chapel Hill, http://www.learnnc.org/lp/pages/742 (Accessed December 5, 2012). 35. xxxv Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pg. 35 36. xxxvi Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pg. 159 37. xxxvii Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pg. 222 38. xxxviii Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pg. 60 39. xxxix Ben Kelly, The beautiful interior, a Ben Kelly triumph. 1982, Color Photograph. FAC 51 The Hacienda Interior. From: The Hacienda: How Not to Run a Club by Peter Hook. London: Simon & Schuster UK Ltd, 2009. Image section page 4. 40. xl Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg.78 41. xli Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 78 42. xlii Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 78 43. xliii Copyright HeCHo, Plan. 2008, CAD Drawing. The Knitting Factory. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 76. 44. xliv Copyright The Knitting Factory, Bar window to stage. 2012, Color Photograph. The Knitting Factory. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 79. 45. xlv Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 143 46. xlvi Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 143 47. xlvii Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 146 48. xlviii Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 146 49. xlix Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pg. 151 50. l Jeroen Musch, Music café. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Pages 148-149 51. li Jeroen Bram Muller, Music café performance. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 151. 52. lii Robin Eggenkamp, Performance Hall. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 150. 53. liii Jeroen Musch, Concourse upper level. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 148. 54. liv Allison Baker, “Downingtown hopes to start a nightlife scene The mill town is working to create opportunities for recreation while keeping its historical feel”, The Philadelphia Inquirer (Philadelphia, PA) Mar. 30, 2008 http://articles.philly.com/2008-03-30/news/25260955_1_victory-brewing-main-street-retail-space 55. lv Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 56. lvi Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 57. lvii Greg Radford, Theater 118 Brandywine Avenue Downingtown PA Existing Floor Plan, 2008. Digital black and white CAD drawing. From: GREG RADFORD ARCHITECT, 800 Hillsdale Road, West Chester, PA 19382. 58. lviii Copyright Google Maps, Aerial Map of 118 Brandywine Avenue as taken from Google Maps. Digital Satellite Photo. http://maps.google.com (Accessed October 15, 2012). 59. lix Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 60. lx Manufacturer Unknown. From: Kling Stubbins Materials Library, 2301 Chestnut Street, Philadelphia, PA. Accessed September 10, 2012. 61. lxi DuPont SentryGlas Expressions. 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lxiv 64. Anthony Tommasini, “At Last, Heavenly Acoustics Are Heard in the Hall”, The New York Times (New York, NY) Feb. 22, 2009

http://http://www.nytimes.com/2009/02/23/arts/music/23tully.html

65. lxv Copyright Eighteenth Street Lounge, 2012. Digital Color Photograph. http://www.eighteenthstreetlounge.com/tour.html (Accessed December 5, 2012).

66. lxvi Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pg. 34

lxvii 67. Copyright 100 Club, Floor Plan. 1967, Pen & Ink Drawing. 100 Club . From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 21.

lxviii 68. Copyright KAM,KAM LED PAR 64 MK3/Par64 MKIII Par Can Lighting Effect, 2013. From:why buy new.co.uk, http://www.whybuynew.co.uk/lighting-effects/par-cans/led-par64-mk3-kam-led-par-64-mk3-light.htm (accessed May 11, 2013).

lxix 69. Copyright woodbyte, Stadium Light Pole, 2009.3ds Max Rendering. From: Turbo Squid, http://www.turbosquid.com/3d- models/3d-light-pole-model/446222 (accessed May 11, 2013).

70. lxx Copyright Show Group Production Services, Triangular Truss: Mark 1 ShowTower Mass Truss, 2013. From: Show Group Production Services, http://www.sgps.net/triangular_truss.html (accessed May 11, 2013).

lxxi 71. Copyright chaoda, Stage Lighting Truss, Round Truss, 2013. From: Guangzhou Chaoda Performance Equipment Factory, http://chaodatruss.en.made-in-china.com/product/NeXmBEvjPZhy/China-Stage-Lighting-Truss-Round-Truss.html (accessed May 11, 2013).

lxxii 72. Copyright Lightolier, 5" Line Voltage Black Step Recessed Light Trim, 2013. From: Lamps Plus, http://www.lampsplus.com/products/lightolier-5-inch-line-voltage-black-step-recessed-light-trim__12591.html (accessed May 11, 2013).

lxxiii 73. Copyright Jonathan Adler, Small Anemone Lamp, 2013. From: Jonathan Adler, http://www.jonathanadler.com/small-anemone (accessed May 11, 2013).

Bibliography-

The Music Co-Op

1. Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, (Middletown: Wesleyan University Press, 2006), pgs. 19-113

2. Shane Homan, “Geographies of NOISE” Youth Studies Australia 22, no. 2 (2003): 12-18.

3. Allison Baker, “Downingtown hopes to start a nightlife scene The mill town is working to create opportunities for recreation while keeping its historical feel”, The Philadelphia Inquirer (Philadelphia, PA) Mar. 30, 2008 http://articles.philly.com/20080330/news/25260955_1_victorybrewingmainstreetretail space

4. Margaret Wappler, “Kelly Clarkson endorses Ron Paul; incurs wrath from Twitter,” The Los Angeles Times, (Los Angeles, CA) Dec. 29, 2011. http://latimesblogs.latimes.com/music_blog/2011/12/kellyclarksonendorsesronpaulincurs wrathfromtwitter.html 5. Lee Higgins, “Growth, pathways and groundwork: Community music in the United Kingdom,” International Journal of Community Music 1, no. 1 (2008): 23-37.

6. Merris Griffiths and David Machin, “Television and Playground Games as Part of Children’s Symbolic Culture,” Social Semiotics 13, no. 2 (2003): 147-160.

7. M.V. Sokolova, “Modern Cartoon Characters in Children Play and Toys” Psychological Science and Education, no. 2, (2011): 49-54.

8. George H. Lewis, “From Common Dullness to Fleeting Wonder: The Manipulation of Cultural Meaning in the Teenage Mutant Ninja Turtles Saga” Journal of Popular Culture 25, no. 2 (2005): 31-43.

9. Stacy Otto, “Nostalgic for What? The Epidemic of Images of the mid 20th Century Classroom in American Media Culture and What it Means,” Discourse: Studies in the Cultural Politics of Education 26, no. 4 (2005): 459-475.

10. Robert Kronenburg, Live Architecture: Venues, Stages and Arenas for Popular Music (London: Routledge, 2012) pgs. 78-151

11. Peter Hook, The Hacienda: How Not to Run a Club, (London: Simon & Schuster UK, 2009) pgs. 34-222

12. John Vasey, Concert Sound and Lighting Systems: Third Edition, (Woburn: Butterworth- Heinemann, 1999) pgs. 74-75

13. Scott Hunter Stark, Live Sound Reinforcement: A Comprehensive Guide to P.A. and Music Reinforcement Systems and Technology, (Vallejo: Artist Pro Publishing, 2004), pgs. 259-261.

Images Sources The Music Co-Op

1. Moyna, Margarite Collar, 2012. Silk, faux pearls, crystal, glass beads, 14"L, 1.5"W, 7" drop, From: BHLDN LLC, http://www.bhldn.com/shopshoesaccessoriesjewelry/margarite collar/productoptionids/b8df1319232a4c6fa05dcdf74da57ed1 (accessed October 24, 2012).

2. Urban Outfitters Inc., Montauk Madras Necktie, 2012. Cotton, silk, 2.25’’W. From: Urban Outfitters Inc, http://www.urbanoutfitters.com/urban/catalog/productdetail.jsp?id=25179359&parentid= MENS_ACCESSORIES (accessed October 24, 2012). 3. Alyssa C, nothing at the farmer’s market tastes as good as licking yourself, 2010. Digital color photograph. From: Hipster Puppies (blog), http://hipsterpuppies.tumblr.com/post/729160164/nothingatthefarmersmarkettastes asgoodas (accessed October 24, 2012). 4. Dan McFarland, Kelly Clarkson T-Shirt, 2012. Digital color photograph. From: Low Times Podcast.com, http://www.lowtimespodcast.com/designtheworstbandshirteverthe31 finalists/ (accessed October 25, 2012). 5. Kristen Filoromo. Demographic 3. 2012, Color Image Collage. Utilizing the Following Images (Clockwise from Top Left):

a. Deetzzz, Untitled, 2012. Color Photograph. From: Flickr, http://www.flickr.com/photos/86614542@N07/7934700994/ (accessed December, 12, 2012). b. BIGRUBE STREET STYLE GAZING, Philadelphia Daily News Street Gazing column, Stripe it up, 2012. Color Photograph. From: Streetgazing/Philly.com, http://www.streetgazing.com/2012/06/philadelphiadailynewsstreetgazing.html (accessed December 12, 2012). c. Jen Killius, The Clover Club: A True Classic, 2011. Color Photograph. From: Drink Baltimore, http://baltimore.thedrinknation.com/articles/read/5732TheCloverClubA TrueClassic# (accessed December 12, 2012) d. Copyright BHLDN LLC, Twinkling Kitten Heels, 2012. Color Photograph. From: BHLDN, http://www.bhldn.com/index.cfm/fuseaction/product.detail/_/twinkling kittenheels/productID/b9d6df28eb9f4613b1e5ff38e7ee69e1/categoryID/1ca01b2d bc7c42ad84e920d4651f56ed/productOptionIDS/4d1bb59574cf4c15b890 0801c63f7a9e (accessed December 12, 2012). e. Urban Outfitters Inc., Montauk Madras Necktie, 2012. Cotton, silk, 2.25’’W. From: Urban Outfitters Inc, http://www.urbanoutfitters.com/urban/catalog/productdetail.jsp?id=25179359&parent id=MENS_ACCESSORIES (accessed October 24, 2012). f. , Moyna, Margarite Collar, 2012. Silk, faux pearls, crystal, glass beads, 14"L, 1.5"W, 7" drop, From: BHLDN LLC, http://www.bhldn.com/shopshoesaccessories jewelry/margaritecollar/productoptionids/b8df1319232a4c6fa05dcdf74da57ed1 (accessed October 24, 2012).

g. Copyright Resolution 4 Architecture, Pineapple Loft, 2003. Color Photograph. From: Resolution 4 Architecture, http://re4a.com/projects/pineappleloft/ (accessed December 12, 2012).

6. Kristen Filoromo, Demographic 2. 2012, Color Image Collage. Utilizing the following images (Clockwise from top left): a. Joel Bedford, Torch, 2007. Color Photograph. From: Flickriver: http://www.flickriver.com/photos/jalex_photo/451947913/ (accessed December 12, 2012). b. Copyright Milestones Grill and Bar, California Eggs Benedict with Shrimp ($12.99) from Milestones Restaurant in Vancouver, 2009. Color Photograph. From: Dine Out Here, http://www.dineouthere.com/restaurants/weekendbrunchatmilestonesrestaurant kitsilano (accessed December 12, 2012) c. Lindsay Beyerstein, Tomatoes at Union Square, 2006. Color Photograph. From: Flickr, http://www.flickr.com/photos/12481400@N00/267738596/ (accessed December 12, 2012) d. Copyright 2012 Paul Smith, Paul Smith Cufflinks- Naked Lady Cufflinks, 2012. Color Photograph. From: Paul Smith, http://www.paulsmith.co.uk/usen/shop/mensnaked ladycufflinks.html, (accessed December 12, 2012) e. Tom R, Self, 2012. Digital Photograph. From: Flickr, http://www.flickr.com/photos/68026922@N03/7869403092/in/pool postureos_afoteros/ (accessed December 12, 2012) f. BIGRUBE STREET STYLE GAZING, Philadelphia Daily News Street Gazing column, T-shirt style, 2012. Color Photograph. From: Street Gazing/Philly.com, http://www.streetgazing.com/2012/05/philadelphiadailynewsstreet gazing_18.html#links (accessed December 12, 2012) g. Ginnerobot, Untitled, 2008. Color Photograph. From: Flickr, http://www.flickr.com/photos/ginnerobot/2549674296/ (accessed December 12, 2012) 7. Kristen Filoromo, Demographic 1. 2012, Color Image Collage. Utilizing the following images (Clockwise from top left):

f. Alyssa C, nothing at the farmer’s market tastes as good as licking yourself, 2010. Digital color photograph. From: Hipster Puppies (blog), http://hipsterpuppies.tumblr.com/post/729160164/nothingatthefarmersmarkettastes asgoodas (accessed October 24, 2012). g. Dan McFarland, Kelly Clarkson T-Shirt, 2012. Digital color photograph. From: Low Times Podcast.com, http://www.lowtimespodcast.com/designtheworstbandshirteverthe31 finalists/ (accessed October 25, 2012).

8. Adam Shane, Sean- Cigarette Closeup, 2009. Digital color photograph. From: Flickr, http://www.flickr.com/photos/91803897@N00/3772516157/ (accessed September 6, 2012). 9. Copyright Creators Project Staff, It’s Live Music Week On The Creators Project!, 2010. Digital color photograph. From: The Creators Project, http://thecreatorsproject.com/blog/itslivemusicweekonthecreatorsproject (accessed December, 12, 2012). 10. Copyright Emily Wren, Pocket Farm, 2011. Color Photograph. From: Facebook, Pocket Farm. https://sphotosa.xx.fbcdn.net/hphotos ash4/309862_252875421411331_5065716_n.jpg (Accessed December 13, 2012). 11. Copyright Lionsgate Home Entertainment. Teenage Mutant Ninja Turtles: The Complete Classic Series Collection. 2012, Color Animation. From: DVD Talk. http://www.dvdtalk.com/reviews/57983/teenagemutantninjaturtlescompleteclassic seriescollection23discdvdset/ (Accessed December 6, 2012). 12. Copyright Hollywood.com Staff. Fast Times at Ridgemont High Movie Stills. 2008, Film Still Image Capture. From: Hollywood.com. http://www.hollywood.com/photo/Fast_Times_at_Ridgemont_High_Movie_Stills/5220747 #p2,g5220747 (Accessed December 6, 2012). 13. Copyright Fox All Access. 2011. Color Photograph. Claire Danes Reflects About the Demise of My So-Called Life. From: Fox All Access Blog. http://foxallaccess.blogs.fox.com/2011/11/27/clairedanesreflectsaboutthedemiseof mysocalledlife/ (Accessed December 6, 2012). 14. Copyright 2012 Weston Historical Society. A 1950s classroom at Weston High School. Black and White Photograph. A Short History of the Field School. From: Weston Historical Society. http://www.westonhistory.org/ExtraHTMLpages/FieldSchoolTopic.html (Accessed December 6, 2012). 15. Steve Marriott. 1950s classroom. Page 202. “How the teacher works out his ranking system I’m not sure.” From: Book Drum Beyond the Page. http://www.bookdrum.com/books/we neverhaditsogood/9781903506288/bookmarks201225.html (Accessed December 11, 2012). 16. Jessica Paholsky, Park Forest Elementary School Kindergarten teacher Debbie Patrick prepares her classroom for the next lesson. 2011, Color Photograph. Local school districts balance class sizes. From: Voices Web, Voices of Central PA. http://voicesweb.org/local schooldistrictsbalanceclasssizes (Accessed December 5, 2012). 17. Rob Manning/OPB, Kindergarteners sit for story time. 2012. Color Photograph. Successful Seniors Start Out as Playful Preschoolers. From: Oregon Public Broadcasting. http://www.opb.org/news/series/learningwithless/successfulseniorsstartoutasplayful preschoolers/ (Accessed December 6, 2012). 18. James H. Stronge, Pamela D. Tucker and Jennifer L. Hindman, Mandrel's Current Classroom Layout. 2004, Black and White Drawing. Handbook for Qualities of Effective Teachers. From: Association for Supervision and Curriculum Development

http://www.ascd.org/publications/books/104135/chapters/ClassroomManagementand Organization.aspx (Accessed December 5, 2012). 19. Mitch Katz, A Traditional Classroom. 2012, Black and White Drawing. LEARN NC, a program of the University of North Carolina at Chapel Hill SchoolofEducation From: The University of North Carolina at Chapel Hill, http://www.learnnc.org/lp/pages/742 (Accessed December 5, 2012). 20. Ben Kelly, The beautiful interior, a Ben Kelly triumph. 1982, Color Photograph. FAC 51 The Hacienda Interior. From: The Hacienda: How Not to Run a Club by Peter Hook. London: Simon & Schuster UK Ltd, 2009. Image section page 4. 21. Copyright HeCHo, Plan. 2008, CAD Drawing. The Knitting Factory. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 76. 22. Copyright The Knitting Factory, Bar window to stage. 2012, Color Photograph. The Knitting Factory. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 79. 23. Jeroen Musch, Music café. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Pages 148-149 24. Jeroen Bram Muller, Music café performance. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 151. 25. Robin Eggenkamp, Performance Hall. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 150. 26. Jeroen Musch, Concourse upper level. 2012, Color Photograph. De Vorstin. From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 148. 27. Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 28. Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 29. Greg Radford, Theater 118 Brandywine Avenue Downingtown PA Existing Floor Plan, 2008. Digital black and white CAD drawing. From: GREG RADFORD ARCHITECT, 800 Hillsdale Road, West Chester, PA 19382. 30. Copyright Eighteenth Street Lounge, 2012. Digital Color Photograph. http://www.eighteenthstreetlounge.com/tour.html (Accessed December 5, 2012). 31. Copyright Google Maps, Aerial Map of 118 Brandywine Avenue as taken from Google Maps. Digital Satellite Photo. http://maps.google.com (Accessed October 15, 2012). 32. Copyright TREND, 2012. Digital color photograph. From: TREND MLS, http://www.trendmls.com/mls/Report/ClientListingReport.aspx (accessed October 3rd, 2012). 33. Manufacturer Unknown. From: Kling Stubbins Materials Library, 2301 Chestnut Street, Philadelphia, PA. Accessed September 10, 2012. 34. DuPont SentryGlas Expressions. From: Kling Stubbins Materials Library, 2301 Chestnut Street, Philadelphia PA. Accessed September 10, 2012.

35. (From left to right) SOLO Maple Acoustics & Armstrong Woodworks Custom Veneer. From: Kling Stubbins Materials Library, 2301 Chestnut Street, Philadelphia, PA. Accessed: September 10, 2012. 36. LISBON Curable Oil Natural CORK. From: Kling Stubbins Materials Library, 2301 Chestnut 37. Copyright 100 Club, Floor Plan. 1967, Pen & Ink Drawing. 100 Club . From: Live Architecture: Venues, Stages and Arenas for Popular Music by Robert Kronenburg. New York: Routledge, 2012. Page 21.

38. Copyright KAM, KAM LED PAR 64 MK3/Par64 MKIII Par Can Lighting Effect, 2013. From:why buy new.co.uk, http://www.whybuynew.co.uk/lightingeffects/parcans/led par64mk3kamledpar64mk3light.htm (accessed May 11, 2013).

39. Copyright woodbyte, Stadium Light Pole, 2009.3ds Max Rendering. From: Turbo Squid, http://www.turbosquid.com/3dmodels/3dlightpolemodel/446222 (accessed May 11, 2013).

40. Copyright Show Group Production Services, Triangular Truss: Mark 1 ShowTower Mass Truss, 2013. From: Show Group Production Services, http://www.sgps.net/triangular_truss.html (accessed May 11, 2013).

41. Copyright chaoda, Stage Lighting Truss, Round Truss, 2013. From: Guangzhou Chaoda Performance Equipment Factory, http://chaodatruss.en.madein china.com/product/NeXmBEvjPZhy/ChinaStageLightingTrussRoundTruss.html (accessed May 11, 2013).

42. Copyright Lightolier, 5" Line Voltage Black Step Recessed Light Trim, 2013. From: Lamps Plus, http://www.lampsplus.com/products/lightolier5inchlinevoltageblackstep recessedlighttrim__12591.html (accessed May 11, 2013).

43. Copyright Jonathan Adler, Small Anemone Lamp, 2013. From: Jonathan Adler, http://www.jonathanadler.com/smallanemone (accessed May 11, 2013).