A Musical Composition of Aural Architecture James Pendley University of South Florida

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Graduate Theses and Dissertations Graduate School

2009 Visualizing sound: A musical composition of aural architecture James Pendley University of South Florida

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This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Visualizing Sound: A Musical Composition of Aural Architecture

James Pendley

A thesis submitted in partial fulﬁ llment of the requirements for the degree of Master of Architecture School of Architecture and Community Design College of the Arts University of South Florida

Major Professor - Stanley Russell, M. Arch. Alex Bothos, M. Arch. Paul Reller, M. M.

Date of Approval November 13, 2009

Keywords: performance spaces, acoustics, design, music, form

Thank you to the faculty of the sa_cd for the devotion to education as well as the students. I would like to extend a special thanks to Stan Russell (Project Chair), Alex Bothos (Thesis Commit- tee), Paul Reller (Thesis Committee), Trent Green (Thesis I Professor)

Words could not express the gratitude to my family and friends for the endless support and standing by my side throughout this crazy endeavor called architecture school. Without you all none of this would have been possible.

To my wife, Thank you so much for the patience and understanding for so many years, and totally supporting me in whatever I do. Forever, I love you To my daughter Jaymie Lynn Pendley for being so understanding and patient. You are such a beautiful person, I am so proud to be your dad. I love you baby girl.

Thank you to Donna Pendley for wonderful thoughts and ideas along the way. Table of Contents

List of Figures...... iii Case Study Summary 28

Abstract...... vi Program Elements...... 29 Performance / Musical Education 30 Thesis Project...... 1 Thesis Project Description 2 Program Analysis...... 31 Program Exploration 32 Acoustics / Music...... 6 3-D Program Layout 33 History of Music / Acoustics 7 Program Square Footage 34 Sabine’s Equation 8 Site Selection...... 35 Sound / Acoustics - Research...... 10 Sarasota, Florida 36 Physical Acoustic 11 Zoning District 38 Perception 12 Proposed Sites 39 Psychoacoustics 13 Selected Site 42 Room Acoustics 14 Sound Mapping 15 Site Analysis...... 43 Acoustics / Space 16 Environmental 44 Site Characteristics 45 Case Studies...... 17 Theatre at Epidaurus 18 Project Concepts...... 49 Adrienne Arsht Center 20 Placement / Organization 54 Tempe Center for The Arts 22 Shanghai Oriental Arts Center 24 Parti Exploration...... 55 Walt Disney Concert Hall 26 i Conceptual Design...... 58 Conceptual Schematic Design 59

Design Phase...... 62 Floorplans 63 Sections 66 Elevations 68 Details 70 Anechoic Concept 71 Acoustical Testing - Ray Tracing 72 Renderings 74 Draft Model 80 Section Model 81 Final Model 82

Conclusion...... 84

Bibliography...... 85

Internet References...... 87

Image References...... 88

ii List of Figures

Fig. 1 - Sound Perception 1 Fig. 25 - Room Acoustics 16 Fig. 2 - Epidaurus Theatre 4 Fig. 26 - Theater at Epidaurus 18 Fig. 3 - Sound Wave 10 Fig. 27 - Plan, Epidaurus 18 Fig. 4 - Epidaurus Theater 11 Fig. 28 - Wind Concept 19 Fig. 5 - Human Auditory System 11 Fig. 29 - Seating 19 Fig. 6 - Breaking the Sound Barrier 11 Fig. 30 - Seating Diagram 19 Fig. 7 - Cause / Effect 11 Fig. 31 - Adrienne Arsht Center 20 Fig. 8 - Process of Perception 11 Fig. 32 - Main Performance Hall 21 Fig. 9 - Brain Process 12 Fig. 33 - Ceiling Acoustics 21 Fig. 10 - Diagram of Brain 12 Fig. 34 - Maestro 21 Fig. 11 - Water Acoustics 12 Fig. 35 - Steel Skin System 21 Fig. 12 - Human Auditory System 13 Fig. 36 - Isolation Wall / Hallway 21 Fig. 13 - Auditory System in Brain 13 Fig. 37 - Exterior Amphitheater 22 Fig. 14 - Acoustic Scales 13 Fig. 38 - Performance Hall 22 Fig. 15 - Rotunda 14 Fig. 39 - Plan 23 Fig. 16 - Parabola 14 Fig. 40 - Section 23 Fig. 17 - Acoustics / Form 14 Fig. 41 - Render of Complex 24 Fig. 18 - Sound Through Population 15 Fig. 42 - Plan of Context 25 Fig. 19 - 3-D Map of Sound 15 Fig. 43 - Entrance WDCH 26 Fig. 20 - Room Acoustics 16 Fig. 44 - Axonometric 27 Fig. 21 - Sound Explosion 16 Fig. 45 - Plan Entire Complex 27 Fig. 22 - Sound Reaction 16 Fig. 46 - Section Performance Hall 27 Fig. 23 - Sound Wave (Guitar) 16 Fig. 47 - Teaching 30 Fig. 24 - Sound Reﬂ ection 16 Fig. 48 - Practicing 30

iii Fig. 49 - Parti of Thought 32 Fig. 75 - Views 45 Fig. 50 - Program Analysis 32 Fig. 76 - Site Map 46 Fig. 51 - Program Analysis 33 Fig. 77 - Figure / Ground 46 Fig. 52 - Site Map 36 Fig. 78 - Green Space 46 Fig. 53 - Shore Line 36 Fig. 79 - Site Structure 46 Fig. 54 - Sunset at Site 36 Fig. 80 - Site Map 47 Fig. 55 - Future Land Use 37 Fig. 81 - Vehicular Path 47 Fig. 56 - Zone Districts 38 Fig. 82 - Pedestrian Path 47 Fig. 57 - Site 39 Fig. 83 - Major Streets 47 Fig. 58 - Aerial 39 Fig. 84 - Site Transition 48 Fig. 59 - Site Map 39 Fig. 85 - Points of Interest 48 Fig. 60 - Aerial 39 Fig. 86 - Site Utilization 48 Fig. 61 - Site 40 Fig. 87 - Diagram 48 Fig. 62 - Aerial 40 Fig. 88 - Diagram 50 Fig. 63 - Site Map 40 Fig. 89 - Natural Sound at Site 50 Fig. 64 - Aerial 40 Fig. 90 - Man Made Sound at Site 50 Fig. 65 - Aerial 41 Fig. 91 - Spatial Transition 50 Fig. 66 - Site 41 Fig. 92 - Sound Overlay 51 Fig. 67 - Site Map 41 Fig. 93 - 3-D Sound 51 Fig. 68 - Aerial 41 Fig. 94 - Movement of Sound 51 Fig. 69 - Site Properties 42 Fig. 95 - Motion in Sound 52 Fig. 70 - The Bay 42 Fig. 96 - Model Concept 52 Fig. 71 - Population - Florida 44 Fig. 97 - Model Concept 52 Fig. 72 - Sun Chart 44 Fig. 98 - Model Concept 52 Fig. 73 - Site Climate 44 Fig. 99 - Concept 53 Fig. 74 - Site Analysis Map 45 Fig. 100 - Concept Model 53

iv Fig. 101 - Concept Model 53 Fig. 127 - Sections 66 Fig. 102 - Concept Model 53 Fig. 128 - Perspectives 67 Fig. 103 - Schematic Concepts 54 Fig. 129 - Elevations 68 Fig. 104 - Parti 56 Fig. 130 - Elevations 69 Fig. 105 - Parti 56 Fig. 131 - Details 70 Fig. 106 - Parti 56 Fig. 132 - Anechoic Concept 71 Fig. 107 - Parti Exploration 57 Fig. 133 - Acoustical Ray Trace 72 Fig. 108 - Parti Exploration 57 Fig. 134 - Acoustical Testing 73 Fig. 109 - Parti Exploration 57 Fig. 135 - Render 74 Fig. 110 - Concept Drawing 59 Fig. 136 - Render 74 Fig. 111 - Concept Idea 59 Fig. 137 - Render 75 Fig. 112 - Analysis 59 Fig. 138 - Render 76 Fig. 113 - Concept Idea 59 Fig. 139 - Render 77 Fig. 114 - Exploration of Idea 59 Fig. 140 - Render 78 Fig. 115 - Sound / Water 60 Fig. 141 - Render 79 Fig. 116 - Space Layout 60 Fig. 142 - Draft Model 80 Fig. 117 - Conceptual Schematic 60 Fig. 143 - Section Model 81 Fig. 118 - Schematic Concept 60 Fig. 144 - Final Model 82 Fig. 119 - Schematic Concept 60 Fig. 145 - Final Model 83 Fig. 120 - Initial Sketch 60 Fig. 146 - Final Model 83 Fig. 121 - Sound as an Element of Design 61 Fig. 147 - Final Model 83 Fig. 122 - Sound Rings at Site 61 Fig. 148 - Final Model 83 Fig. 123 - Site Plan 62 Fig. 149 - Final Model 84 Fig. 124 - Floorplan 63 Fig. 125 - 2nd Floorplan 64 Fig. 126 - 3rd Floorplan 65

v Visualizing Sound: A Musical Composition of Aural Architecture James Pendley ABSTRACT This thesis is a direct reaction to the way acoustics and sound, in performance spaces, has evolved over the past hundred years with the advent of modern acoustical technology. This thesis will ask the question of how can sound and acoustics be the main inspiration for the design intent and a formal determinate of space. By using sound and acoustics as a design We depend on our collective senses in order based method of space making, architecture to rationalize and negotiate space. Unfortunate- can achieve a visualization of space through the ly, sound and acoustics has become a secondary aural perception of sound. concern to that of the visual perception in archi- Reexamining how sound reacts to the tecture. The initial design intent for many mod- geometric shapes and forms in architecture can ern performance spaces and music education unveil a solution to poor acoustics in many per- space, for about the past one-hundred years, formance spaces, and result in a method of vi- has not been driven by sound or acoustics, as a sualizing sound and acoustics in space and not consequence the visual perception has become merely a visual experience of the built form. the major inﬂ uence. This document will analyze the principals Prior to modern acoustical applications, and the application of acoustical design in per- performance spaces have been designed for formance and musical education spaces and re- the essence of sound and the form and func- establish the connection of music, acoustics and tion had no divisible lines, but with ampliﬁ cation architecture. The outcome for this thesis will re- of sound and the technology to reproduce and sult in the holistic approach to an acoustically manipulate sound, form over took acoustics as designed performance center inter-connected a design based idea. with scholastic spaces for musical education. vi Thesis Project

Fig. 1 Sound perception “We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Social relationships are strongly inﬂ uenced by the way that space changes sound. Spaces Speak, Are You Listening?” Barry Blesser and Linda-Ruth Salter

1 Thesis Project Description

The built environment in which we dwell is and tactile qualities of space without the use interpreted through our inherent senses. We as of typical barriers. The typical space for mu- human beings depend upon our sensorial percep- sical education is a simple square room with tions in order to rationalize and negotiate space. an additive aspect for sound response. The Without a visual or audible connection to the built original idea for the space was not sound or environment the perception of architecture would music, it is only a container for the program. not be so amazing. Aural perceptions of music and Space for this purpose must be considered tonal effects augment every aspect of life. Through in the initial design and structure as a whole the phenomenon of music and sound our relation- entity. ships with each other as well as the natural ele- Sound can not be physically seen, even ments coalesce to create a holistic entity of dwell- though sound is matter and occupies space, ing within the world of architecture. the perception of sight cannot detect audible Music, acoustics and sound plays a quintes- sound waves. One must envision the connec- sential role in our every day to day life and yet the tion of the senses, vision has connections to facilities that teach these arts do not receive the taste, smell and tactile qualities, if one sees same respect as others. The architecture for these and object one can perceive the essence of programmatic issues is generic and lacks the edu- that object such as smell, taste, and touch cational sources to produce the fi nal product, mu- while the audible sense activates only a visu- sic, that is intertwined in every aspect of our lives. al perception, an audible perception responds By examining the ways that sound reacts to space to the “minds eye”. We as human beings have and how sound can create space is going to be the been programmed to link sounds with a cer- fi rst step in the direction to create a new type of tain image of an object, therefore sound can aural architecture suited for an educational pur- be seen through a psychological aspect. pose. By using the natural elements and the built This thesis began to develop from an environment one can perceive the wind, water, light exploration of the aural perception of space 2 in architecture. Space is perceived through an ac- sign in architecture. This thesis looks to pro- cumulation of all the senses and yet the modern vide a framework for inhabitable spaces that day architecture is mainly concerned with the icon- consist of the perception of sound through ic visual representation of the architecture. the built environment. Today’s modern architecture has a strong in- Rethinking how sound can evolve into fl uence to the visual component of perception and inhabitable space and employing the princi- the audible component has diminished from the pals of sound in space this thesis will attempt importance of the design phase in its infancy. This to redefi ne how people occupy the built envi- thesis consists of three main goals as well as the ronment through sound and not only the typ- intent to improve the quality of the aural architec- ical visual aspect. This thesis will prove that tural environment in which we dwell: aural architecture can and will be a sustain- able characteristic of modern architecture. 1 To analyze and explore the possibilities of sound as a The conceptual and schematic phase design inspiration and generator of space in performanceof design will have to incorporate the ideas spaces. of sound as divisions of space and not sole- 2) To increase awareness and improve the quality ofly rely on walls and barriers to defi ne said acoustics in the space utilized by performance halls and the musical education. space. Applying aural and acoustical systems 3) To unite music and architecture in such a way thatto create a sensorial relationship with the the design infl uences and inspires creativity and encour-built form will only enhance the architecture ages an exploration of sound and music by the studentsand hopefully start to reveal that the reality and performers. of sound as a generator of space is a facet that is missing in architectural design today.

The intent is to heighten ones awareness of the essential role that sound plays in the built environment and to revitalize the aspect of aural de-

3 “As opposed to acoustics in architecture, the initial inking of the pen. Acoustics and which focuses on the ways that space affects the sound has played a major role in the forma- physical properties of sound waves (spatial acous- tion and spatial confi guration of architectural tics), aural architecture focuses on the way that lis- spaces of the past. (Bryant, p.9) teners experience the space”. (Blesser, p.5). Acous- This is evident in the ruins of ancient tics manipulate the actual sound waves to enhance buildings especially the “perfect clarity of the or diminish the perception of sound in itself, but Greek amphitheaters where a speaker, stand- aural architecture has a psychological impact on ing at a focal point created by the surround- the perception of space through the way sound is ing walls, is heard distinctly by all members understood as a medium of space. of the audience.” (Bill Viola in Sheridan, p.3). A visual connection of space is inhibited by The essence of sound and acoustics were the barriers such as walls, structure and obstacles yet main focus and they achieved some of the an aural connection is uninhibited by such physical purest quality of sound that still exists today. obstructions. A space is therefore combined into (Bomgardner, p.231) one entity through the aural perception of space. The human body responds to space instinctively and directly through the receptors of vision, hearing, smell and touch, but through the passing of time technology has somehow overshadowed this connection of perception to emphasis the dominant sense of vision. Ancient architects could not afford to isolate the senses into separate entities and had to design using the holistic realm of perception. Examining the ancient amphitheaters and the architecture pri- or the introduction of modern technology one can fi nd that the acoustics of space were designed from Fig. 2 Epidarus Amphitheater 4 Some of the top rated performance centers human body. Not all of our senses are equal today have extremely well designed acoustics. The though, vision seems to be the dominate problem is just that, engineered sound and not the overall factor as well as in architecture and pure quality of sound that is the being perceived. the others senses seem passive to that of vi- Architecture has given birth to quite a few sion. specialized fi elds such as the acousticians and The way that architecture has evolved sound engineers. The element of sound has been the audible aspect of perception has dimin- written out of the architect’s equation as a design ished into the overlaying of materials and not inspiration. the architecture in itself, therefore rethinking This document will compare the modern and how sound is perceived and the psychologi- ancient performance venues and analyze the char- cal and physiological effects on the human acteristics which improve or diminish the acousti- psyche in relation to architecture will begin cal qualities of the space. Music is an expression to evolve into a new method of visualizing of an idea and an idea is a generator of space. The sound in performance space. historical technique of designing amphitheaters or acoustical space, especially without the modern This Document will employ the following technology, is quite amazing. These spaces consist methods research: of the pure essence of sound. The space resonates - Case Studies and Combined Strategies - through natural qualities and is not muddied with > Modern day theaters additive aspects to enhance the acoustics of the > Modern music schools space. The importance of looking back to what has > Performance halls been done can only improve what will be done. A - Interpretive Research - series of acoustical studies will prove that acoustics > Greek and Roman amphitheaters can be a visual connection to an educational expe- > Origins of acoustical planning rience of space. Our senses are combined into one entity, the

5 Acoustics / Music

6 History of Music / Acoustics The evolution of technology for acoustics and to “proportional” and “actual” modes. (Bry- music was basically unchanged for nearly 1800 ant, p.15) The “proportional” mode “relates years. Dating back to the era of the Greeks in 350 the spatio-visual experience of width, height, B.C. up until the 1500s performance settings were and depth to the tonal experience of har- open air forums. The advent of performance halls monic musical notes,” this provides a “basis required a selection of distinct materials to control for linking the two types of experience and the reverberation time of the sound. Prior to this, a practical guide for sizing the various parts the material that were used had a major effect on of building.” (Sheridan, p.3) “This concept is acoustics. Dorian chants were created to either arguably the foundation for the concept of shorten or extend the reverberation time of sound architecture as frozen music”. (Bryant, p.15) and therefore a pioneer of acoustics in space. The “actual” mode of Vitruvian theory The same principal applies to instruments “relays specifi c advice, derived from expe- as well. The harp, piano and violin could project rience and experimentation, on how sound their sound for quite a distance, but with invention behaves under certain physical conditions”, of electric amplifi ers the need for self-sustaining including the topics of propagation, refl ection instruments diminished and this brought about a and sympathetic resonance: a clear forerun- new era in sound and spaces for sound. ner for today’s modern acoustic engineering In modern day writings about architecture practices”. (Sheridan, p.8) there seems to be very little about acoustics and The evolution of modern acoustics sound in the overall planning of design, but Sheri- dates to the late 1800’s. Sabines are a mea- dan states that Vitruvius, in The Ten Books on Ar- surement of acoustical values. The name chitecture, emphasized an equal amount of text to was derived by its inventor Wallace Sabine, “sound, music and acoustics as he did to site design, 1868-1919. The fi rst application of his re- materials and color; a level of attention unheard of search was Fogg Hall at Harvard University. in current architectural writing.” (Sheridan, p.3) “Sabine’s career is the story of the birth of The aspect of sound in Vitruvius’ writings re-late the fi eld of modern architectural acoustics. 7 Sabine’s Equation

In 1895, acoustically improving the Fogg Lecture studying various rooms judged acoustically Hall, part of the recently constructed Fogg Art Mu- good for their intended uses, Sabine deter- seum, was considered an impossible task by the mined that good concert halls had reverber- senior staff of the physics department at Harvard. ation times of 2-2.15 seconds (“with short- The assignment was passed down until it landed er reverberation times, a music hall seems on the shoulders of a young physics professor, Sa- too “dry” to the listener”) (AE), the average bine”. (AE) known “good” reverberation time for this space was slightly under 1 second. “Sabine was able to determine, through these Looking at Fogg Museum’s lecture late night forays, that a defi nitive relationship ex- room, Sabine fi gured out “that a spoken ists between the quality of the acoustics, the size of word remained audible for about 5.5 sec- the chamber, and the amount of absorption surfac- onds, or about an additional 12-15 words if es present. He formally defi ned the reverberation the speaker continued talking”. (Sabine) This time, which is still the most important characteris- would result with very high values and rang- tic currently in use for gauging the acoustical qual- es of echo and resonance. ity of a room, as number of seconds required for Utilizing his discoveries used for the the intensity of the sound to drop from the starting Fogg Hall, “Sabine deployed sound absorbing level, by an amount of 60 dB (decibels).” (AE) materials throughout the Fogg Lecture Hall to cut its reverberation time down and re- “The formula is RT60 = 0.049V \Sa Where duce the “echo effect.” This accomplishment RT60 is the reverberation time, V is the volume of cemented Wallace Sabine’s career, and led the room in cubic meters, and Sa is the total ab- to his hiring as the acoustical consultant for sorption, a is the average absorption coeffi cient of Boston’s Symphony Hall, the fi rst concert hall room surfaces and S is the surface area”. (Sabine) to be designed using quantitative acoustics. “Note that the reverberation equation formula is His acoustic design was a great success and just that, a formula, not an actual equation. By Symphony Hall is generally considered one 8 of the best symphony halls in the world.” (Thomp- the spatial qualities. Sound is essential to the son) rationalization of our world and the realm of The way sound defi nes space has a direct cor- architecture. relation to the spatial qualities of the space. Soci- Through the built form this thesis will ety and culture are key formal determinates of how employ 3d modeling and simulation as well space is defi ned and how people inhabit the built as the use of case studies and interpretive environment. Blesser refers to space making as” research methods employed in the present incidental consequences of sociocultural forces.” and past. The fi rst step in beginning the ar- (Blesser, p. 5) which is to say that a certain culture duous task of reinterpreting how sound, as will form space through the beliefs of their culture a determinate factor of space, is a plausible and the sounds that envelope their surroundings. application that needs to, and must be, rein- troduced to the world of architecture. “Listeners react both to sound source and to spatial acoustics because each is an aural stimulus with social, cultural, and personal meaning depending on the physical design and the cultural context, aural architecture can stimulate anxiety, tranquil- ity, socialization, isolation, frustration, fear, bore- dom, aesthetic please, and so on”. (Blesser, p. 11)

This thesis exploration will attempt to de- ﬁ ne space as an aural perception. While occupying space there are psychological and physiological aspects to inhabitation. The audible sense is the main focus of this exploration being used to determining

9 Sound / Acoustics - Research

Fig. 3 Sound Wave

10 Physical Acoustics

“Sound is a travelling wave which is an os- cillation of pressure transmitted through a solid, liquid, or gas, composed of frequencies within the range of hearing and of a level sufﬁ ciently strong to be heard, or the sensation stimulated in organs of hearing by such vibrations.”

“Acoustics is the interdisciplinary science that deals with the study of sound, ultrasound and Fig. 4Sine Wave Fig. 5 Human Auditory System infrasound (all mechanical waves in gases, liq- uids, and solids). A scientist who works in the ﬁ eld of acoustics is an acoustician. The application of acoustics in technology is called acoustical engineering. There is often much overlap and interaction between the interests of acousticians and acoustical engineers.”

Fig. 6 Breaking the Sound Barrier Fig. 8 Process of Perception Fig. 7 Cause / Effect 11 Perception

brating objects and sound waves, and the harmonic series — a physical constant that when a string vibrates, it’s ﬁ rst in half, then in thirds… etc. etc.. So you hear a pitch, and then a series of overtones in the background. Sound is simple geometry. Just

Perception to Hot spots indicate Brain activity to take a look at these simple musical sounds sound and music brain reaction to certain genres of vibrating in water, and the shapes created sound music. Fig. 9 Brain Process by these vibrations. (Authur) The perception of sound has an wide range of effects on the psychological and physiological These studies were conducted in a state of the perceiver. These images show how controlled environment with random sounds the different types of music infl uences different re- of music. Patterns that form are from acous- ceptors in the brain shown by intensity of red. tics in water. Water has a very strong acous- The fundamental building block of music is a vi- tical quality and water has the ability to carry sound waves for quite a distance. Ultrason- ic sound waves have been used to map the 3-d form of many different surfac- Fig. 10 Diagram of Brain 12 Fig. 11 Water Acoustics Psychoacoustics es. Psychoacoustics is the precise scientifi c study of the perception of sound. This fi eld includes psychological and physiological effects upon the nervous system. Sound is perceived through the auditory system collected by the outer ear and processed through the middle and inner ear to the auditory nerve which produces a physical response. Fig. 12 Human Auditory System “An important distinction is the difference between a psychological and a neurological perception. A song or melody associated with childhood, a teenage romance, or some peak emotional experience creates a memory-based psychological reaction. There is also a physiological response Auditory System in the Brain to sounds, however. Slightly detuned tones can cause brain waves to speed up or slow down, for instance. Additionally, Fig. 13 soundtracks that are fi ltered and gated (this is a sophisti- cated engineering process) create a random sonic event. It triggers an active listening response and thus tonifi es the auditory mechanism, including the tiny muscles of the middle ear.” (Leeds)

Fig. 14 Acoustics Scale Psychoacoustics is comprised of sub catego- ries such as ear physiology, ear sensitivity and bin- scale extending from quiet to loud. Timbre is aural hearing. The attributes of these are pitch, that attribute of auditory sensation in terms loudness and timbre (sound quality). Pitch is the of which a listener can distinguish two similar psychological perception of frequency. Loudness is sounds that have the same pitch and loud- a subjective perception of the intensity of a sound, ness. (Music-Miami) in terms of which sounds may be ordered on a

13 Room Acoustics Room acoustics is the workings of sound in bouncing around the room. an enclosed or covered space and has a direct ef- “(Leeds) fect on the sound perception of the space. Such The zones and regions considerations that have to be dealt with is size, that are created by sound volume, shape and materials of the space as well waves also create problems Fig. 15 Rotunda as many other indirect characteristics of sound. within enclosed space. Sound The properties of acoustics can be analyzed waves have refl ections from by their inherent attributes, such as reverberation fl oors, ceilings and walls. time, refl ection, refraction, diffusion, this is only a Source waves and refl ected few of the main principals of sound, but these play waves come into contact with a huge role in the understanding how sound reacts each other and create standing to space. Acoustics can enhance or diminish the waves or high pressure zones. Fig. 16 Parabola sound quality of space and turn a well designed In response to this Oscar Bo- space into a undesirable experience of music and nello, in 1981, utilized a modal space. density concept solution called The way that sound reacts to a room can be “Bonello Criteria” which uses divided into four mainly unique frequency zones: concepts from psychoacous- “The fi rst zone is below the frequency that has a tics. “The method analyzes the wavelength of twice the longest length of the room. fi rst 48 room modes and plots In this zone sound behaves very much like chang- the number of modes in each es in static air pressure. Above that zone, until the one-third of an octave. The frequency is approximately 11,250(RT60/V)1/2, curve increases monotonically wavelengths are comparable to the dimensions of (each one-third of an octave the room, and so room resonances dominate. The must have more modes than third region which extends approximately 2 oc- the preceding one)”. (Bryant taves is a direct level transition to the fourth zone. p.54) Fig. 17 Acoustics / Form In the fourth zone, sounds behave like rays of light

14 Sound Mapping Sound mapping has become a very useful way sound can inﬂ uence the habitation of tool in the realm of architecture. The urban sounds space can achieve a sense of collaboration of that occupy the exterior of buildings and the can- the built form and sound. Sound has yons of the city dictate the layout of many public mass and depth but is unable to be seen by and private spaces. Noise is deﬁ ned as “In com- the human eye, but by using computer tech- mon use, the word noise means unwanted sound nology one can visualize the form of sound or noise pollution.” (Websters) As seen in Fig. 19 and how sound can indeed be seen. Sound the massing of urban sound is directly related to can be broken down into a mathematical population. The sound is a collection of all sounds equation of pressure / time and wavelength and noises. The idea of mapping sound came about / amplitude. Frequency is the number of oc- when residential areas started to sprawl away from currences of a repeating event per unit time. the downtown zones. The ability to understand the The basic building blocks of sound are a combination of all of these bundled into one unit of sound. The measurement of these characteristics enable the mapping of sound waves and sound occurrences along planes.

Fig. 18 Sound Map through population Fig. 19 3-D Map of Sound 15 Acoustics / Space

not the sound representing the space. Sound is an explosion of energy spreading out in all directions. See fi g. 22 Refl ection, absorption and diffusion are major considerations of sound design because of the way that sound reacts to a solid Fig. 20 Room Acoustics object. Diffusers will “soften” the sound and Sound in space is very distinctive to the prin- absorption will “nullify” the wave through the cipals of acoustics. The form of a given space can use of juxtaposition of the surface. The sound either enhance or diminish the quality of perception. wave has a rise (compression) and a fall (rar- Examining fi g. 26 one can see how sound waves re- efraction) that comprises the amplitude and act to a non-conforming space of fl at planes. Sound wavelength. This breaks down to a height refl ects off of a given surface and impedes the fol- and distance of sound, therefore acoustics lowing transmission of the next wave. By utilizing can not only be measured in terms of mass, acoustics sound can be tuned to the specifi c space, but can also demonstrate mass through vol- but by doing this the essence of the sound is com- ume which is a defi ner of space. promised. The Space must represent the sound and

Fig. 24 Sound Reﬂ ection Fig. 25 Room Acoustics

Fig. 23 Sound Wave (Guitar) Fig. 21 Sound Explosion Fig. 22 Sound Reﬂ ection

16 Case Studies

17 Theatre at Epidaurus

Country: Greece (Ellás) City: Epidaurus Location: South-East of the Sanctuary of Askle- pios Ancient Greek theatre, built ca. 350-300 BC by Polykleitos the Younger. Originally 6210 seats. Later extended by 21 rows (then ca. 14000 seats). Famous for its unparalleled acoustics. Still used for theatre performances. The ancient Greeks and Romans were not Fig. 26 Theatre at Epidarus concerned with the enclosure of their amphitheaters but with the acoustics that were produced within the space. The structure was utilized for the resonance and reverberation of sound and the perception of the receiver and not the iconic representation of the built environment. (Chase, p.25) The Greeks used specifi c materials and the physics of sound to ensure that the perceivers in Fig. 27 Theatre at Epidarus Plan the amphitheater, no matter where seated, could slope of the rows. hear even a whisper from the lower level of the “Now, researchers at the Georgia In- skene. (Bomgardner, p.28) The acoustic qualities stitute of Technology have discovered that that were incorporated into the Epidaurus theatre the limestone material of the seats provide were not utilized into other Greek amphitheaters. a fi ltering effect, suppressing low frequen- The materials were changed and the layout as well. cies of voices, thus minimizing background The Epidaurus was the only space built in this man- crowd noise. Further, the rows of limestone ner of using limestone for the seats and with the seats refl ect high-frequencies back towards

18 the audience, enhancing the effect.” (Chao) one that was designed for pure essence was The use of aural architecture is the subject Epidaurus. The materials were the secret to matter of relevance of to this thesis. The Greeks the phenomenon. The limestone took the low utilized the sense of audible perception and did not frequencies out of the mix and intensiﬁ ed the rely on the visual aspect alone in the construction middle and high frequencies. of this space. With the emphasis on the audible, the space transmits sound throughout the entire area through elements of architecture and nature. Sound is the main generator of space in this instance therefore the inhabitation of sound through a spatial composition is achieved. The Greeks used scups in the front of the seats to direct and channel sound and diffuse the Fig. 28 Wind Concept frequencies that had undesirable results. Fig. 30 The theatre was recessed in the ground to utilize the prevailing winds that helped transmit the sound waves. Fig. 28 Limestone used in the seating area was the secret to the perfection of the ancient acoustics. Fig. 29 The overall analysis was conducted through Fig. 29 Seating an exploratory and descriptive research. Interpre- tive research was employed in the case study of the theatre at Epidaurus, Greece. While looking at the main form of the performance halls one thing runs consistent with all of the cases is that they were all designed with acoustics in mind, but the only Fig. 30 Seating Diagram 19 The Adrienne Arsht Center for the Performing Arts

The Adrienne Arsht Center for the Performing Arts of Miami-Dade County, Inc., 1300 Biscayne Blvd. Miami, Fl. 25490 Architect: Cesar Pelli _ 2001-2006 Fig. 31 Adrienne Arsht Center “The objectives of Adrienne Arsht Center for “make” the space, for without the utilization the Performing Arts of Miami-Dade County are to: of acoustical interventions the space would • Offer state-of-the-art accommodations for not function as a performance venue. Acous- artists, cultural organizations and their audiences; tics in the ballet performing area are inter- • Operate in an efﬁ cient and cost-effective twined with the architecture and allow the manner and attract governmental and foundation sound to inﬁ ltrate the whole existence of the fund raising; space.” (Hall, p.18) • Provide a range of performing arts experi- The surrounding walls of the theater ences beyond what is available regionally; were designed not only to isolate the inte- • Act as a catalyst for area revitalization and rior but to insulate the acoustics. Fig. ## The enhance regional economic opportunities through dampening doors are built so that they may the Center’s appeal to tourism.” be adjusted to the particular type of perfor- The Adrienne Arsht Center, formally known as mance. Johnson spent his entire professional the Carnival center, was built to facilitate the grow- life mastering the acoustical values of space ing need for acoustical environments that acted as and how to achieve the optimal level of ex- an “educational and cultural resource” for the ur- cellence in acoustics. ban fabric of Miami-Dade County and the surround- The center has two main performance ing areas. The acoustics were designed by Russell (acoustical) spaces as well as a black box Johnson, master acoustician and theatre planner. theatre that functions on acoustical qualities. While Pelli designed the space the actual acoustics The building is constructed so that the per-

20 formance spaces are encapsulated inside the envelope in order to isolate the possible opportunities of the acoustics. The ceiling panels are adjustable in such a way as to maximize the refraction and reﬂ ection of the sound waves. The center is not only for performances they provide an educational realm as well. The center encompasses the entire realm of the performing arts from ballet to musical composition, theater and education while utilizing the principals and theories of acoustics to create their spaces.

Fig. 35 Steel Skin System

Fig. 32 Main Performance Hall

Fig. 36 Isolation Wall / Hallway Fig. 34 Maestro Fig. 33 Ceiling acoustics 21 Tempe Center for the Arts

Designed by Tempe-based Architekton and Barton Myers Associates of Los Angeles, houses a state-of- the-art, 600-seat proscenium theater, a 200-seat studio theater and a 3,500 square-foot gallery.

The main characteristics of the room are: Volume: 18 900 m3, Seats number: 600, Volume / seat: 6.9 m3/st, Max width: 29 m - average width 21 m, Mean ceiling height: 15.9 m, Distance to the second balcony most distant seat: 39 m, Distance to the stage for the most distant VIP seats: 25 m, Distance to the stage for the stalls seat:29 m (low), Fig. 37 Exterior Amphitheater 33 m (upper). The Tempe center of the arts was tuned to accommodate a wider range of performances. The hall is more adaptive to a varying range of genres. The architect designed the center with other functions as well. The educational program included in the design focuses on the journey from learning to showcasing ones talent in the hall. The diversity of the hall is part of its success. The universal space is an asset to the Tempe community. Tempe Center for the Arts stages innovative programming that enriches, enlightens, inspires and expands the artistic horizons of the Tempe Fig. 38 Performance Hall 22 community. The TCA is a unique visual and per- system offers maximum ﬂ exibility for theatri- forming arts experience built by the community for cal lighting and the latest in audio-video and the community. It is a professional level venue in communication systems technology. which local groups are expected to provide more than 75 percent of the overall programming. The center offers a unique blending of arts and culture at a distinctive destination that features what few cities can boast – Town Lake’s endless outdoor activities, the dining and nightlife of a vibrant downtown, a dynamic shopping venue and one of the nation’s top universities. The Facility: The 88,000 square-foot facility features a theater, studio, gallery, banquet/meeting room, donor lounge, an on-site, full-service box ofﬁ ce, theatrical and administrative support areas, two dedicated catering areas, arts retail space, a lounge and a 17-acre art park. Theater - At the heart of the TCA is a 600- seat performance hall able to accommodate dance, drama, small scale opera, musical theater, orches- tral performances and solo recitals. The auditorium Fig. 39 Plan incorporates four seating levels - an orchestra level, parterre and two balconies. To the sides of the auditorium, boxes extend and nearly connect to the stage. Above the forestage, an overhead grid allows suspension of scenery, lighting and sound equipment. A state-of-the-art computerized control Fig. 40 Section 23 Shanghai Oriental Arts Center

Location: Century Avenue, Shanghai Total surface area: 39,694 sqm Auditorium capacities: Philharmonic Orchestra Hall: 1,979 seats Lyric Theatre: 1,054 seats Chamber Music Hall: 330 seats

The main characteristics of the room are: Fig. 41 Render of Complex Volume: 28 450 m3, Seats number: 1979, Volume - The halls will emerge from the base as trees / seat: 6.9 m3/st, Max width: 37 m - average width from the earth. 38 m, Mean ceiling height: 28.9 m, Distance to - The building should be covered and en- the second balcony most distant seat: 46 m, Dis- closed by one unique cantilevered roof, linked tance to the stage for the most distant VIP seats: by curved glass walls to the base. 36 m, Distance to the stage for the stalls seat: 28 - Spaces inside the building are distributed m (low), 39 m (upper) around and from a central circulation and Project description: The Oriental Arts Centre meeting point. This should apply to the public project is a fi rst rank public cultural building, en- as well as to the performers and the VIP’s. compassing mainly three venues : a 1,979 seats - The public space should be open and adapt- Philharmonic Orchestra Hall, a 1,054 seats lyric able in order to increase the potential of use Theatre, a 330 seats chamber Music Hall. With a of the building. 39,694 sq.m construction site area, the project will - The performers should be provided with an be built on 7 main levels. effi cient and agreeable working space. The project architectural intend is based on - The three performance halls should be dif- the following basic principles: ferent in form and use different materials. - The building has a base on which the public spac- - The outside walls of the three halls will use es will develop. enamel ceramic as their main common mate- 24 rial. Viewed from above, Shanghai Oriental Art - The material of the façades will be a glass incor- Center is just like fi ve blossoming petals, porating a perforated metal sheet of variable den- which constitute respectively the entrance sity. hall, Oriental Performance Hall, Oriental Con- - The façades design itself will express innovation, cert Hall, Exhibition Hall and Oriental Opera modernity and enhance the public areas. Hall, forming a beautiful butterfl y orchid in - Although secondary in their functional impor- full bloom. tance, the public spaces will defi ne the character of the building and its fi tting with the spirit of the time. Located in the administrative and cultural center of Pudong New Area, Shanghai Oriental Art Center is the east starting point of Shanghai cultural axis in the new round of cultural layout. With an investment of 1 billion RMB by Shanghai Municipal Government and Pudong New Area Administration, Shanghai Oriental Art Center is one of the most important symbolic cultural projects. It occupies a total area of nearly 40,000 square meters and is designed by Paul Andreu, the famous French architect. The construction started on 26th March 2002 and was fi nished with the grand New Year Concert as its Opening Ceremony on 31st December 2004, which marked the beginning of its trial operation. Fig. 42 Plan of Context And its offi cial operation is dated on 1st July 2005.

25 Walt Disney Concert Hall

Walt Disney Concert Hall Los Angeles, California, USA, Metro Area: Los Angeles, World Region: North America. Project Type: Special Use Land Use(s): Performing Arts Facility, Open Space, Structured Parking Site Size: 3.6 acres/1.5 hectares Site Statistics - Date Completed 2003 Fig. 43 Entrance WDCH Project Street Address: 111 South Grand Avenue Los Angeles, California, USA orchestra,”(PBS) and later said, “Everyone can now hear what the L.A. Phil is supposed The main characteristics of the room are: Volume: to sound like.”(Scher) This remains to be one 35 762 m3, Seats number: 2000, Volume / seat: of the most successful grand openings of a 8.3 m3/st, Max width: 37 m - average width 35 m concert hall in American history. Mean ceiling height: 21.6 m, Distance to the sec- The walls and ceiling of the hall are fi nished ond balcony most distant seat: 46 m, Distance to with Douglas-fi r while the fl oor is fi nished the stage for the most distant VIP seats: 35 m, Dis- with oak. The Hall’s reverberation time is ap- tance to the stage for the stalls seat: 34 m (low), proximately 2.2 seconds unoccupied and 2.0 38 m (upper). seconds occupied. (Nagata) The hall met with lauded approval from The building mass was designed by nearly all of its listeners, including its perform- Frank Gehry and the acoustics were designed ers. In an interview with PBS, Esa-Pekka Salonen, by Yoshira Toyota. The interior of the hall is Music Director of the Los Angeles Philharmonic, was tuned in such a way that the acoustics said, “The sound, of course, was my greatest con- are considered some of the best in the world. cern, but now I am totally happy, and so is the Fig. # The disadvantage for Frank Gehry is 26 that the main design intent was that of the acoustician and not the architect. The diminishing role of the architect is contributing to the diminishing aspect of sound as a design inspiration. This leads to a solely visual aspect for design intent.

Fig. 45 Plan - Entire Complex

Fig. 44 Axonometric Fig. 46 Section Performance Hall

27 Case Study Summary

The overall analysis was conducted through The analysis not only focused on the an exploratory and descriptive research. Interpre- space as an inhabitable form, but mainly fo- tive research was employed in the case study of the cused on the relation of space to acoustics theatre at Epidaurus, Greece. While looking at the and sound within the space. The Walt Disney main form of the performance halls one thing runs concert hall, designed by Frank Gehry has consistent with all of the cases is that they were all unparalleled acoustics designed by Yoshiuro designed with acoustics in mind, but the only one Toyota. The hall was tuned for an orchestra that was designed for pure essence was Epidaurus. setting to achieve the optimal aural percep- The materials were the secret to the phenomenon. tion anywhere in the room. The hall is em- The limestone took the low frequencies out of the bedded in the overall plan of the complex mix and intensiﬁ ed the mids and highs. and yet it is the main hub of the building . The performance halls of The Tempe center, The Tempe center of the arts was tuned Oriental arts center and Walt Disney concert hall to accommodate a wider range of perfor- were all designed by an acoustician and the archi- mances. The hall is more adaptive to a vary- tect designed the “shell” in which it rest. ing range of genres. The architect designed TCA SOAC WDCH the center with other functions as well. The Performance Hall # of seats 600 1979 2250 educational program included in the design Reverberation time - 2.7 sec. 2.4 sec. 2.2 sec focuses on the journey from learning to Distance Stage to furthest seat - 21 m 46m 44 m Materials - Mahogany/Cherry, Oak-Acoustical Panel, Doug- showcasing ones talent in the hall. las Fir / Oak The Shanghai Oriental arts center, de- Form- Semi-Circle, Semi - In Round , Semi - In Round signed by French architect Paul Adreau in Direct sound perception - 195’ 360’ 360’ collaboration with Marko Vian (acoustician), Sound Absorption - Diffusers Yes Yes Yes was intended to unite all genres of music and performance arts.

28 Program Elements

29 Performance / Musical Education

The intent of the program is to integrate the substandard for the role music plays in our aspect of musical education and the experience of lives. From this space the student is placed musical performance. The main design intent is to in a hall that totally changes the acoustics improve the acoustical qualities of the performance and effect of the sound in such a large room. space and explore the “lost” aspect of sound as a The transitions from learning to performing design driver. The main concept is the performance has to be seamless. A space intended for hall’s acoustics, but the aspect of learning is equally a certain function should portray the intent important. By using the actual sound of music as a through the experience of space in which one generator for space the spaces will not evolve as a is about to inhabit. typical arts center, but will transform from a space that sound is engineered for into a space that is tuned for the sound.

The evolution of technology has put limita- tions on the way performance hall are designed either by form or budget. The sound has some major considerations that must be incorporated in the design for a successful space to come to fruition and poses the qualities that the space deserves.

The space for musical education is where the program must consider the effect of the student in the space. The typical room for practice is a small space that is not even treated for acoustics. The student perfects their skill in a space that is totally Fig. 48 Practicing Fig. 47 Teaching Transcendes 30 Program Analysis

31 Program Exploration

The main focus of this project is to integrate the education of music and performance into a holistic entity through the built form of architecture. The goals for the design are to: -Establish a path / journey from musical education to the performance stage while allowing the architecture to “breathe” by not utilizing overlaying materials to try and compliment the original acoustical intent of the design. -Allow the exterior of the structure to be fully involved within the space. Fig. 49 Parti of Thought -Use environmental sounds to mold the journey from learn to perform. -Establish a connection with the qualities of sound and acoustics with the built structure. -Examine the possibility of a transformable space that could work for many different venues. -Acoustical parameters must “feel” comfortable, form must compliment the acoustics, i.e. avoid echoes, standing waves and focusing. The spaces researched for this type of build- Fig. ## ing usually require the incorporation of such spaces as well as the use of many special spaces unique to the design. Fig. 50 Program Analysis 32 3-D Program Layout

Fig. 51 Program Analysis

33 Program Square Footage Spaces for performance hall program - Entrance / exterior space - ...... ------Lobby –...... 2,000 sq. ft. - Large performance hall - ...... 40 – 45,000 sq. ft. - Stage - left / right, back stage –...... ------Dressing rooms – ...... 10 @ 100 sq. ft. ea. - Green room – ...... 750 sq. ft. - Production offi ce – ...... 4 @ 200 sq. ft. ea. - Planners room – ...... 2 @ 100 sq. ft. ea. - Box offi ces – ...... 500 sq. ft. - Restrooms and vending - ...... ------Restaurant / Café –...... 2,000 sq. ft. - Gift Shop – ...... 300 sq. ft. - Loading dock -...... ------Stage equipment room – ...... 500 sq. ft. - Mechanical (tare spaces) / services –...... ------Studios / class – ...... 10 @ 1,500 sq. ft. ea. - Class rooms – ...... 8 @ 1,000 sq. ft. ea. - Practice rooms -...... 150 sq. ft. ea. - Practice hall – ...... 10,000 sq. ft. - Admin. Offi ces –...... 10 @ 250 sq. ft. ea. - Gallery –...... 1,000 sq. ft. - Multi-purpose room – ...... 750 sq. ft. - Restrooms / mechanical (tare spaces) - ...... ------Storage – ...... 500 sq. ft. Total sq. ft. 90,000 sq. ft. 34 Site Selection

35 Sarasota, Florida

The sites were chosen for the surrounding context of Sarasota. The array of different types of urban, green space and residential areas is quite astonishing. The three sites all have their own characteristics and attributes, but the ﬁ nal choice of site is one that has three very distinct areas that will compliment the program as well as the building. The Gulf coast has very calming properties that will be emphasized in the design.

Fig. 53 Shore Line

Fig. 52 Site Map Fig. 54 Sunset at Site 36 ) ) ) waterbodies uplands Parcels as the See Future Land Use Action Strategy 1.9 for policy 1.9 for Use Action Strategy Land Future See Open Space-Recreational-Conservation ( Open Space-Recreational-Conservation Neighborhood Office / Institutional Community Office Commercial Neighborhood Community Commercial Production Intensive Commercial Resort Residential ( Open Space-Recreational-Conservation Metropolitan / Regional Metropolitan ( lands owned submerged privately regarding " " " " " " " " " " " " " """"""" """"""" """"""" """"""" " Railroads " " " " " " 2030 tels/Motels, and Development consistingtels/Motels, and Development Illustration LU-6 Future Land Use Map Classifications Sarasota City Plan Application No. 06-PA-05 Application No. 06-PA-08 Application Application No. 07-PA-02 Application Future Land Use ng, Museum, Entertaining ng, Museum, 0002, 2029-11-0047 City Limits comprehensive plan may be amended from time to time. This map cannot be interpreted independent of the Single Family (Very Low Density) Low Family (Very Single Family (Low Density) Single Density) (Moderate Family Multiple Density) (Medium Family Multiple Residential Mixed Neighborhood Urban Core Downtown Bayfront Downtown Urban Edge Parcel ID 0025-03-0031, Parcel ID 2025-15-0017, Parcel ID Parcel IDs 2029-14- Parcel IDs 2029-06-0030, 2029-11-0045, 2029-14-0001, Application No. 05-PA-03 Parcel ID 2027-09-0100, Parcel ID Adopted by Ordinance No. 08-4792 Commercial tourist shopping center Regional shopping center Regional shopping Hospital activities, Professional/Medical Offices, Medical Laboratories Recreation, Entertainment, and Non-Residential Uses Residential Fairground activities Recreation, Entertainment, Museum, and Cultural Facilities Airport activities, Car Rental Agencies, Ho of Office, Entertainment, Education, Commercial Retail,and Church uses Service, higher learni Institution of Retirement Center 4 3 2 1 9 7 8 2 3 5 1 6 4 Sites Corresponding to Future Land Use Action Strategy 1.10 to Future Land Use Sites Corresponding Metropolitan Regional Land Uses Metropolitan Regional

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Location: Televast Rd. between 18th St. East and U.S. 301. The site stretches from Televast Rd. and University Parkway. The size of the site is .5 miles x .4 miles. The space is heavily spotted by trees and natural bush lines. The large lot of land would be sufﬁ cient for this type of use but looking at the pros and cons of the site the choice would have to meet the main list of criteria. (See program analysis list). Advantages of site: Large site, non-residential zone, centrally located between Bradenton and Sarasota. The land is mainly unpopulated and the surrounding space is isolated by the interstate U.S. 301. The site is closely linked to many other minor Fig. 59 Site Map destinations and some major transportation hubs. Disadvantages of site: The site is set back off of the bay and has no link to the south side of the city. The site is isolated by the airport and U.S. 301. The residual noise from the airport is the main reason

Fig. 57 Site Fig. 58 Aerial Fig. 60 Aerial 39 Location: N. Tuttle Ave. between Myrtle St. and Dr. Martin Luther King Jr. Blvd. Sarasota Florida. The size of the lot is .25 miles x .21 miles. Advantages of site: The site is located north of the downtown districts and south-east of site number one. The site has adequate space for the program and usage for the building. Tuttle Ave. is the set of an isolation area that leaves the site to sit by itself. The space has quite a lot of natural elements as far as trees and shrubs that outline the space. Disadvantages of site: The main disadvantage of the site is that there are too many residential areas that sit right outside of the boundaries. The east, Fig. 63 Site map west and south sides of the site are neighborhoods and are growing. Just north of the site is a golf course that would cause problems for the noise / sound level of a residential zoned area.

Fig. 64 Aerial

Fig. 61 Site Fig. 62 Aerial 40 Location: Van Wezel Way and 10th St. bordered by U.S. 41 and Sarasota Bay. Size of lot is .15 miles x .11 miles. The site has a direct link to the downtown districts as well as the natural elements. Advantages of site: The site has three different zones of acoustics that inﬁ ltrate the space. On the east side U.S. 41 runs north to south and creates a boundary that separates the residential towers from the site. The west side has Sarasota Bay a natural inlet that incorporates the natural elements such as wind, water and beautiful vistas. The south view is that of the Van Wezel Performing Arts Cen- ter which will compliment the program. The north Fig. 67 Site Map edge has an inlet for boats and watercraft which serves as a natural boundary for the site. Disadvantages of site: The cons of site number three are few and far between. The site has limited parking space and access to the site, but realign- ment of the major axis will correct this problem. The site is set in a downtown district zone and sat- isﬁ es all site criteria.

Fig. 68 Aerial

Fig. 65 Aerial Fig. 66 Site Looking West 41 Selected Site

The site is positioned on Sarasota Bay just north of the John Ringling Blvd., that leads to St. Armonds Circle, Lido Key and Longboat Key. The site peers out over the bay while being nestled on the edge of the urban fabric.

Fig. 70 The Bay

The interior streets from US 41 and Fruitville Rd. is mainly residential with con- dos and townhomes scattered with single family homes. The downtown district sits to the south- east of the site on a grid layout that inter- sects with the coastline. The Bridge crossing the bay has recently been replaced with an architectural arched bridge, adding to the beauty of the site and coastline. The Coastline is adorned by marinas and tourist activities up to 10th St. then the residential zone comes into play. Fig. 69 Site Properties 42 Site Analysis

43 Environmental

~Florida receives some of the most intense sun- light in the southern regions therefore shading Fig. 72 Sun Path is a must in the design phase. ~Humidity is quite high in this region so the design must consider this aspect of construction.

~The wind speed on the coast has a constant ﬂ ow over the site and the in- land areas.

~The average temp. of the region is the high 70s Fig. 71 Population - Florida to low 80s but with the The population in Florida is somewhat sparse humidity it “feels” hotter. when one looks at Fig. # . The coast seems to be the popular areas and in the central zone around ~The amount of rainfall is Orlando. The Tampa Bay area has quite a high very high in the summer population that stretches down to Sarasota and and moderate through- Fig. 73 Site Climate through to Naples. out the rest of the year. 44 Site Characteristics

offers many ways of access. Sarasota is a city known for the arts and entertainment. The arts is something that is imbedded in the culture of Sarasota. The most recent addi- tions and reno- vations to this area are the Sarasota Opera which underwent a $20 million dollar restoration and next door is the Golden Apple Fig. 74 Site Analysis Map The site is situated in such a way that it is theater. Just to Fig. 75 Views in close proximity to many other points of interest the south of downtown sits Marie Selby Gar- such as the Modern Life Museum, Van Wezel per- dens established in 1973 which only adds to forming Arts Center, The Arts Center of Sarasota the ambiance of the area. Having a direct link and The Sarasota Opera to mention only a few. to the natural elements and the urban dis- The major transportation hubs are only a few miles tricts this site will enhance the building and away at the most. The bus transit passes 1 block lend a hand in the molding of the design for to the east and the airport is 2 miles to the north. having the attributes and characteristics of The downtown district is a 10 min. walk to some art and music inherent to itself. The possibili- of the areas great restaurants and attractions. The ties of interaction and connectivity with the marinas and boat dock scatter the coast so the site site’s context can be almost seamless due to 45 The downtown area of Sarasota has some very nice green spaces but there could deﬁ nitely be more. Fortunately the west coast of Sarasota has some lush open green spaces and parks that dot the shoreline of the bay. The site has a thin line of green at the shore but there will be a full restoration of the site due to the parking lot on the space at the present.

Fig. 76 Site Map

Fig. 77 Figure / Ground Fig. 78 Green Spaces Fig. 79 Exploded Site Structure

46 The major vehicular movement through downtown Sarasota is Tamiami Trail (US 41) which was named for the connection from Tampa to Miami. US 41 is a heavily traveled road. Sarasota is a direct link to many of the surrounding cities as well as being a major tourist attraction for people all over the world.

10th Street

Fig. 80 Site Map US 41 Van Wezel Way Wezel Van

Blvd. of the Arts

Fig. 81 Vehicular path around site Fig. 82 Pedestrian Path around site

Fig. 83 Major Streets at Site 47 The transition of sound through the site has a three fold effect. The ﬁ rst is one of nature as the site evolves from the bay and gradually steps into the second zone. The second zone is comprised of “mid sound noises”, The perception of natural sound fad- ing as urban cityscape sounds slowly start to evolve into the space. From the combination of these two zones the third starts to take over as the urban edge begins at US 41. A site that has these attributes can be very in- ﬂ uential to the way the design of acoustical space evolves.

M Fig. 84 Site Transition N U a i r t d b u - a r z n e o n e

Fig. 85 Points of Interest Fig. 86 Site Utilization Fig. 87 Site Diagram

48 Project Concepts

49 Project Concepts

The main concept for this thesis is acoustics so the ﬁ rst conceptual analysis was for the sound of the site and how the transitions create zones and regions. Looking at how sounds move through the site leads to positioning points and points of spacial placement. All of the sound analysis had concen- trations of sound mixes in the mid zone. Utilizing the site lead to important issues such as thresholds Fig. 89 Natural Sound at Site and connections of program that are essential to the design.

Fig. 90 Man Made Sound at Site

Fig. 88 Site Diagram Fig. 91 Spatial Transition 50 Fig. 94 Movement of Sound

Fig. 92 Sound Overlay Violin Every piece of music has a distinct foot-

Piano print or signature that expresses the essence of that music or instrument. By examining Clarinet the structure of all of these elements and overlaying the sound map a certain pattern arose. Fig. # Music is comprised of single Orchestra / Symphony notes combined to create a holistic composition, and the same goes for architecture. A collection of structure overlaid by the skin. Here the underlying framework is the scale Opera and the skin is the notes. A chord is made up of the 1st, 3rd and 5th note of a scale all Ballet played together, looking at ﬁ g. 95 one can see how the interlocking triangles of the 1,3,5 pattern emerges. This not only emphasis’ the structure but the rhythm, melody and overall concept of the piece plays through. Fig. 93 3-D Sound 51 Fig. 95 Motion in Sound

Fig. 96 Concept Model Fig. 97 Concept Model Fig. 98 Concept Model

52 This concept model examines how sound as a formal determinate of space can express movement through pitch and frequency at concentration points on site. The movement of a sine wave tells of the amplitude and wavelength and at the same time expresses structure and form. The movement from the bay to the street edge is a composition all its own waiting to take shape.

Fig. 99 Concept Drawing

Fig. 100 Concept Model Fig. 101 Concept Model 53 Fig. 102 Concept Model Placement / Organization

The ﬁ rst Scheme focused on the connection of the bay and the urban districts. The exploration was to focus the performance hall to the community face and shoulder the bay. The education aspect was to be the connecting stitch of the fabric and the experience.

The second scheme was intended to be a stage for the community focusing on the face of the performance and to be the center of attention on the site. The layout set in the lower center of the site and looks at the urban set as a performer.

The third composition was a combination of the visual aesthetic of the bay interconnected with the aural perception of the performance while the interplay with the community and the urban aspect. The educational concept is to evolve from the idea to the expression of the idea. Fig. 103 Scheme Concepts 54 Parti Exploration

55 Parti Exploration

The parti exploration was based on the concept of including the community in the function of the center. The education of music is a universal language that all of mankind speaks. The coastline enhances the appeal of the site and allows the design to include all of the aspects of sound from nature to urban sounds. The center of all the connection is the performance hall and to follow is the musical education school. The parti allows for the encompassing of the whole concept of music, from the aspect of in- Fig. 105 Parti Exploration spiration to the delivery of performance. The journey of knowledge is one of ups and downs just like the compositions of music.

Fig. 104 Parti Exploration Fig. 106 Parti Exploration

56 The second exploration takes on the attributes of the composition in a whole. The sweep- ing sound of tone intertwined with the structure of music and a path that roams through it all. The approach is one of anticipation and intrigue. With the bay as the backdrop and the downtown district as the front playground this parti plays with the idea of integration and connection. The story line plays out from the front entrance to the center allowing the journey and path to tell a story of acoustics and music from one origin and the evolutionary path upon which they travel. Fig. 108 Parti Exploration

Fig. 109 Parti Exploration Fig. 107 Parti Exploration 57 Conceptual Design

58 Conceptual Design

The concept of music is one of motion, therefore the overlaying ideas of acoustics in motion and music in time directs the evolution of the design through movement of structure and form that follow the function. The idea of time and space allow ﬂ exibility in the overall scheme. With the incorporation of education the intensity of rise and fall will come into play and partner with sound as a formal determinate of space.

Fig. 113 Concept Idea

Fig. 110 Concept Drawing

Fig. Fig. 112 Analysis Fig. 114 Time - Space

59 The conceptual designs for this project started with the exploration of movement and expression of sound. Through these drawings a pattern started to emerge of a conical presence. The over- lapping of sound and acoustics creates low, mid and high regions as does music.

Fig. 118 Schematic Concept

Fig. 115 Diagram Sound / Water

Fig. 119 Schematic Concept

Fig. 116 Space Layout Fig. 117 Conceptual Schematic Fig. 120 Initial Sketch 60 100’ in length the time it would take for a perception is going to be measured in hundredths of a second. Therefore the layout of the design must compliment this occurrence. By designing in concentric rings the sound is allowed to respond by using its own attributes. The sound is not corrected to the space but the space is designed for the sound. The site was allowing for the building to respond to the environment as well as the function for which it is intended, once the sound is manipulated the design is obscured and sound engineering takes over

Fig. 121 Sound as element of design

Sound explodes in three different phases. The fi rst phase is the direct perception, the second is a refl ected perception and fi nally the third is the echo phase. Many designers attempt to isolate or delete most of echo and yet sometimes the echo is needed to enhance the sound in itself. The time it takes sound to propagate is extremely quick. Sound travels at 1130 ft. per second and if the room is only Fig. 122 Rings at site

61 Design Phase

The actual design grew from the inﬂ uence encompass the entire aspect of the function of of sound as a design element and a formal de- the space. The conditioned space is all captured terminant of space making. The design includes the three distinct spaces for performance. The main performance hall, a mid size hall and the practice assembly space in the school are all focused on the journey that a musician must travel throughout their path to the large hall. The ﬂ oorplans encompass the overall idea of sound propagation moments after the explosion. Sound travels in concentric rings as well as 360 degrees sphere. The idea of inhabiting the fringes of that explosion is where the inner space evolved from. If one is centered in the path then the three phases of sound will bright- en the perception at that moment in time. The distance of the performance space is 87’ therefore the time to design space is only seven hundredths of a second. By utilizing the vertical aspect of design the design was able to elevate the tiers and provide a direct line of sight and a direct line of audible perception. The connection of the ellipsoid to the outer shell is one of no connection. The outer dome is intended to

62 Fig. 125 2nd Floorplan

64 The building is comprised off 3 distinct ﬂ oorplans with an intermediate plane that is set for the lower seating just above the stage. The school extends down from the medium performance hall and greets the street on the east side of the site. All of the production ofﬁ ces and administration spaces are integrated just north- east of the main performance space.

The domes are positioned in just a way as to grab the shore line for aesthetics and the sound waves for the audible connection back to nature. As the building approaches the east the sounds start to evolve into a mix of urban and natural sounds creating a distinct zone inside of the complex.

The shoreline has been preserved as it is due to the fact that Sarasota is know for the beautiful bay and shoreline. The area in which the building sits is the arts district for Sarasota and all of the other buildings respect the same rules that were applied to this design.

Fig. 126 3rd Floorplan 65 Sections

Fig. 127 Sections 66 The section perspective expresses the interior qualities of the performance hall and the connection of the ﬂ oor plates and the interior ellipsoid. The coverage of the outer dome forms the circulation throughout the building.

Fig. 128 Section Perspective 67 Elevations

South Elevation

West Elevation

68 East Elevation

North Elevation

69 Details

Fig. 131 Details

70 Anechoic Concept

The anechoic concept was incorporated into the inner lining of the shells to cancel and absorb the unwanted sound waves and limit the reﬂ ection and echo.

Fig. 132 Anechoic Concept

71 Acoustical Testing - Ray Tracing

Fig. 133 Acoustical Testing 72 Acoustical Testing - Ray Tracing

Acoustical design is quite difﬁ cult due to there being so many un- knowns. The frequencies can cause trouble with a design. In order to solve for the unknown exacting dimensions and conﬁ gu- rations should be used to organize and prioritize placement and position of design elements that will enhance the sound and not merely the visual aesthetic that so many other buildings employ in their design. Ray tracing was the major tool used in this design. Going back to basics and utilizing the old technique of designing acoustics performed perfectly in this space.

Fig. 134 Acoustical Testing 73 Renderings

The renderings (see right) express the interior qualities of the hall and vertical circulation. The material chosen were for their acoustical attributes and properties. Douglas fi r and oak were the wood fi nishes applied to the interior and dyed concrete (smooth fi nish) for the circulation and main fl oor plates. A poly- styrene resign makes up the transparent glaz- ing, mainly for the strength and UV properties. The section/fl oorplan (see below) show how the building works. The inner circulation wraps the shell and allows panoramic views out to Sarasota Bay.

Fig. 135 Renderings Fig. 136 Renderings 74 View of main performance hall from water. Fig. 137 Renderings 75 View of main performance hall at night from water. Fig. 138 Renderings

76 Interior performance hall view out to the bay. Fig. 139 Renderings

77 Main entrance view from listening sphere. Fig. 140 Renderings

78 View of student hall from second ﬂ oor of main hall. Fig. 141 Renderings

79 Draft Model

The initial draft model took form and allowed the design to reveal its faults. Through the exploration of study models the design evolved into a holistic approach at acoustics in architecture. Acoustics, as a design inﬂ uence, has long been abandoned by the architecture profession. This is possibly one way to reintro- duce the acoustical aspect of design back into the design phase as an element or an inspiration for the overall approach to the initial lining of the paper.

Fig. 142 Draft Model

80 Section Model

Fig. 143 Section Model

An anechoic chamber concept has been incorporated into the ceiling panels that can be opened or closed depending on the performance in the space at any given time. These bafﬂ es consist of triangle shaped wedges lining the shell’s inner core. The wedges disperse the energy in the wave once it enters the chamber. This results in a lessening of unwanted waves in the actual performance area and thus increases the quality of sound in the hall. 81 Final Model

Fig. 144 Final Model

82 Fig. 145 Final Model Fig. 14 Final Model

Fig. 147 Final Model Fig. 148 Final Model 83 Conclusion

In conclusion; throughout all of the research and analysis the main idea of using sound and music as the main inﬂ uence for the design remained constant through the design phase and ultimately answered the thesis question of how sound can be a design inspiration as well as a formal determinate in the design phase. The popular trend for today’s modern architecture is one of convenience. The architect has bypassed the obligation and the duty to design all aspects of inhabitable space. Over the passage of time the profession of architecture has spawned many other professions and led the way to the demise of the “Master Builder” depiction that the architect once possessed. This thesis reinforces the fact that all aspects of sound in space is able to be designed by the architect and does not have to be leased out to a consultant to do “our” job. Sound is something that should not be designed. The space for the sound is the design in itself that compli- ments the music and therefore the music is free to play upon the structure of the architecture, both of these elements coalescing to create a holistic entity called musical architecture. Fig. 149 Final Model 84 Bibliography

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Leeds, Joshua. “THE POWER OF SOUND: How to Manage Your Personal Soundscape for a Vital, Productive & Healthy Life”. Published March, 2001 by Healing Arts Press. 338 pages. 60 minute CD. ISBN 0-89281-768-2. Phillips, Dered. “Daylighting: Natural Light in Architecture.” (2004).

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86 Internet Reference

Blesser, Barry R. Spaces Speak. Are you listening?

Bryant, John W. Sound, Awareness and Place: Architecture from an Aural Perspective, 2008

Chao, Tom. Live Science Staff Writer

Musical Elements. 2003. Online. Internet. 13 Sept 2009.

Musical Instruments. 1999. Online. Internet. 3 Oct. 2009.

“The Los Angeles Philharmonic Inaugurates Walt Disney Concert Hall”. accessdate=2009-07-10.

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87 Image Reference:

Images 30,49-51,74-113,115-149 are original works. J.P.

Epidaurus Amphitheater / Greek

Images Ref: Adrienne Arsht Center

Tempe Art Center

Sound Space - Michael-Dauzon

Shrine of St. Werburgh in the Chester Cathedral -Spaces Speak, Are You Listening? Experiencing Aural Architecture Blesser and Salter

Bryant, John W. Sound, Awareness and Place: Architecture from an Aural Perspective, 2008

Diagrams reﬂ ection

Airplane http://www.news.navy.mil/view_single.asp?id=1445, Photo number: 9907076483G000

88 Nautilus

Maps of temp and wind

Suitable acoustics

Composite of sound mapping

Ear dynamics

Teaching Teaching Student

Brain Diagram

Ear pic www.cyprushearing.org/cyprus-hearing-how-the-...

Scher, Valerie (2003-10-25). “Disney Hall opens with a bang”. The San Diego Union-Tribune. Retrieved on 2009-07-10.

Fact sheet Nagata Acoustics, “Building Details and Acoustics Data”