SoundHouse of FallRiver
Janelle Parent / Thesis Design / Professor Nancy Hackett / NESAD / Suffolk University/ May 2012 I would like to dedicate this book to my family. I have been able to complete a long and diffi cult journey with your unconditional support and love for me. You always believe in me and my ideas even when I don’t believe in myself. Thank you. I will love you forever. Table of Contents
1 IINTRODUCTION 43 SCHEMATICS/DESIGN DEVELOPMENT 2 Problem Statement/Goals 44 Parti Exploration 3 Conceptual Statement 45-46 Model 4 Clients/Users 47-49 Schematic Plans/Sections
5 RESEARCH/SITE SELECTION 50 FINAL PROJECT 6 Market Segment 51-52 Floor Plans 7-10 Case/Precedent Studies 53 Refl ected Ceiling Plans 11-12 Interview & Analysis 54-55 Materiality 13 Design Research 56-61 Perspectives 14-18 Research: Historical 62-64 Sections 19-21 Research: Technical 65 Presentation Day 22-23 Sustainability 24 Limitations/Codes 25-30 Site Exploration
66 CONCLUSION 67 Works Cited 68 Image Citations 31 PROGRAMMING 32-39 Program/Room Data Sheets 40-41 Spacial Organization: Bubbles/Blocks 42 Criteria Matrix INTRODUCTION
The development of Sound House began with my passion for music. Music, in many different forms and genres, has had a large infl uence in my life and has provided an outlet for emotional stability. Music is a source to express oneself and is a means of comfort in times of emotional and mental unrest as well as joy and blissful times. It has enriched my life and continues to do so on a daily basis and for this reason I want to share my experience with music with others. I hope to introduce music into the community as I see it; as a resource and art form that comforts and guides ones life and encourages an emotional response. Combining two of my life passions, music and design, is inspirational to me and I am fascinated by the connections between the two fi elds.
1 Problem Statement To design a space that encourages users of all ages to expand musically and engage in an auditory experience within an energetic and interactive venue. Locating the facility in Fall River, MA will bring inspiring life to an old mill.
Project Goals
• To encourage positive growth and learning in the community. • To provide a venue that is educational for teens and adults. • Provide a fun destination where community members can be productive. • To integrate the existing historic mill building architecture and character with a new, fresh use of color and pattern.
(e) 2 Conceptual Statement
The Sound House is a vessel through which rhythm fl ows among geometric notes. Harmony results from the juxtaposition of a historic, industrial aesthetic, and a modern, colorful edge.
(v)
(u) (e) (t) (x)
3 Client/Users
Client: City of Fall River
• With possible funding from FROED, Fall River Offi ce of Economic Development: includes job creation, job retention and the expansion of the city’s tax base. • Will also work with middle schools and high schools to expand music programs. (a7) Battleship Cove User: Community members of Fall River and neighboring towns.
• All ages are welcome, all regional schools can par- ticipate in programs, elderly homes, all neighborhoods, all cultures, all music interests are welcome. • Staff will be bilingual to accomodate the demographic. (a6) LNG Protestors • Primarily ages 10 and up with focus on school- age children/teenagers as well as young professionals/ professionals seeking instruction or cultural expansion. • Approximately 500 total students at time of startup, with room for expansion; no more than 120 in the space at a given time. • About 13 employees
(a8) Students of Espirito Santo School 4 RESEARCH /SITEEXPLORATION
5 Market Segment
This music center space (‘Sound House’) falls into institutional design as well as civic sectors of design.
Civic design is creating space for people who connect with their greater community. Civic design serves the needs of the community while embodying the spirit of the citizens. Civic design can include community centers, cultural venues, and buildings for the public use.
Attributes of Civic Design: • Encouraging investment and growth within communities. August Wilson Center for African American San Francisco Conservatory of Music San Francisco, California (d) • For civic, social and youth organizations in the US, there is Culture/Pittsburgh, Pennsylvania (d) growth in people aged 5-19 and 50 and older participating. • The industry is not currently seeing growth and development, with a growth rate of -0.1% . • Volunteers increase, but donations and funding do not. (18)
Commercial interior design encompasses retail, corporate, healthcare, institutional, industrial, and hospitality design. The music center space would fall under institutional design. Institutional design is designing for a space that has a cooperative community and Dallas International School Haworth Calgary Showroom and Learning can include educational, religious, cultural, law, and more. Music Dallas, Texas (d) Center/Calgary, Alberta (d) education would be part of institutional design. ("Interior Designers in the US") Attributes of Institutional Design: Residential design • Students are learning in smaller, more specialized groups • Thinking globally: Demand for international expertise, services, and products, with growing BRIC economies (Brazil, Russia, India, China). (15) Merchandise sales • Transition to an open fl oor plan and designing smaller, more effi cient spaces. Consulting services • Sustainability Industrial design CommercialCo design
(including Institutional) 6 Case Study and Precedent Study
Netherlands Broadcasting Music Centre Hilversum, Netherlands/COEN! Design Agency
• Start: 2008/Completion: 2010 • This space offers education, performance space, music library, community participation in contests, radio broadcasting, and live performances of the broadcasted music. • It serves the community by providing an outlet for cultural and musical development for children and enjoyment for all, while still bringing in revenue. • Provides space for group activities, as well as solo or more intimate situations. • The design of the center is appropriate for children with energetic use of color but still sophis ticated for the adult users and employees of the space with the clean planes, angles, and furniture choices. • Coen van Ham said “We wanted to translate the music into colour, patterns and a clear layout.”(Singhal) • User reactions to the design have been above expectations, calling the interior cozy and harmonious. • In my music center space I want to use vibrant color and rhythmic pattern to represent music, similar to this design. Clean lines and an energetic environment that is suitable for all ages is what I want to achieve for my project. • This space is more modern than the space that I want to create. I want to integrate the existing historic mill architecture and character into my design.
(a) All Images 7 Case Study
Community School of Music and Arts/Finn Center Mountain View, CA/Mark Cavagnero Associates
Mission: Arts for All ‘Community School of Music and Arts enhances the quality of life in our region by engaging our diverse community in high-quality arts education, performances and exhibitions.’ • Non-profi t organization established in 1968 • 25,000 sq. ft. facility • Funded in part by a grant from Arts Council Silicon Valley. • Tuition for weekly classes; some offerings such as performances for no cost; fi nancial aid is available; family discounts; some scholarships are awarded to star individuals. • Integrated into the community by performing in social atmosphere and public venues. • For all ages; offers classes, workshops, private lessons, volunteering opportunities, after school programs, free concerts, gallery space • The program of this center is a good model to work from and the focus on the benefi ts of music is what ‘Sound House’ will promote. “Quality music and art education delivers a myriad of benefi ts. It not only enriches the ‘whole child’ creatively, but also improves motor and communication skills, confi dence and problem- solving abilities. Children receiving a quality arts education are more likely to do better in all academic disciplines and graduate from high school.” (2)
(b) All Images 8 Precedent Study
Mandarina Duck Flagship Store Paris, France/NL Architects for Droog Design
• The design philosophy for this space is ‘a store with no architecture’-mean- ing a store that consists of furniture and products only. • Similar and different to this design, I want to choose a minimal approach and let music, the interpretation of music, and the users of the space to be in the forefront. • The use of color in this space is vibrant and energetic and provides life to those users who walk into the space, without being overwhelmed by too • many things. • The architectural elements that I want to bring to the space will be through the use of acoustical patterns and elements. • “Space can be considered the biggest luxury of all.”(4) • This space does have a lot of white, and hard objects and surfaces, which I want to avoid in my design, focusing more on the energy and pattern of the lines seen here.
(c) All Images 9 Precedent Study
Brooklyn Academy of Music/Majestic Theater Brooklyn, NY/H3 Hardy Collaboration Architecture, LLC
• Opened in 1861, current renovation done in 2004. • I am focusing on the BAM Majestic Theater and less on the Rose Cinemas. • “There is palpable energy and vibration.”(1) • This theater space has rawness and life that differs greatly from the modern aesthetic of the Mandarina Duck Flagship Store. I chose this because I see character in this space which I believe is alive in the space that will house the music center. • The historic mills of Fall River have so much character and detail to them already. My goal is to juxta- pose this historic, industrial quality with a modern, vibrant aesthetic to create a playful yet harmonious design. • Housed in an adjacent facility, the Rose Cinemas are brightly colored, and the user is enveloped in this richness. The Rose Theater has the traditional coffered and detailed ceiling but it has been up- dated by the intense red paint, which is similar to the concept that I want to achieve. • Both of these designs lean too heavily in one direction however. I want to create a balance between the existing nature of the beautiful building and the modern use of color and shape.
(c) All Images 10 Interview and Analysis
Community Music Center of Boston Entry way Experience 34 Warren Ave, Boston, MA 02116 Erin Lindsey, Piano Chair of 4 years
1. What is the capacity of the facility/how many students, employees? -There are 6,000 students circulating through the center with 13-14 studio rooms. The teachers are all part-time employees and there are 9 piano teachers for example.
2. How is the facility funded? -Grant funding, private donations, about $5,000 from the city. -60% of funding is from foundation, 30% is from school contracts, and 10% is from events. -Instruments are also donated, sometimes too many are donated.
3. What is the most prevalent age group? -All ages, start at 7 or 8.
4. What are the most and least popular programs offered? Further Information: -Private lessons are the most popular, especially piano lessons. -Events are held at CMCB -Interest in the strings department is increasing. -Local art is donated and -Band instruments (brass) are the least popular. hung on the walls throughout -Music therapy is popular mostly amongst children (use offi ce the space space to function as music therapy room or privte lessons some -CMCB has been located at times): Therapist will play and patient will listen, sometimes joining 34 Warren Ave for 10 or 11 in. -Offers fi nancial aid for students to take lessons 5. Do you get any requests for new and different programs or classes? -Outreaches to schools to -More wind ensemble, and more bands/orchestras in schools. start bands and encourage -CMCB has already started a junior piano seminar and a music education community chorus in Jamaica Plain as well as bands in some schools. -I would estimate 6,500 sq.ft. - There is not much technology with old computers: some total (e) All Images introdution to sound/beat producation but very outdated. 11 Interview and Analysis
6. How do you feel working in this environment? What do you like best? Individual Studios: approximately 80 sq. ft. What would you change? -Erin is ‘enthusiastic about work’ and happy that she and the center can ‘reach every income level.’ -Need new instrument (grand piano) in concert hall. It is old and doesn’t produce best sound. -Need better sound acoustics for individual studios and concert hall: Small space can’t hold the sound. -Need more space-they are continually growing and cannot accomdate the amount of students who want to join. -The space is located in the basement and has only one window in the entrance. Erin says it is good for concentration, but diffi cult to get through the day not having any exposure to the outdoors.
7. What is the relationship between children/adults who attend your center and their performance in school/careeer or life situations? -Children do not seem to be trouble makers, they are enthusiastic about being at the center and learning about music -There is an honors program for high school students; and alumni group
Concert Hall: approximately 1200 sq. ft. Music Library: approximately 300 sq. ft.
(e) All Images 12 Design Research
William Rawn Associates/Architects, Inc.-Boston, MA: Experience in design- The Music Center at Strathmore ing music/theater venues
• The Music Center at Strathmore/Montgomery County, MD: 190,000 s.f.; 1976 seats
• Williams College/‘62 Center for Theatre and Dance/Williamstown, MA: 4 performance venues; 126,000 s.f.
• Seiji Ozawa Hall at Tanglewood/Lenox, MA: 1200-seat concert hall; 2nd best American Concert Hall built in the last 50 years. Source: Leo Beranek, Concert Halls and Opera Houses, 2003 Williams College/‘62 Center for Theatre and Dance
• For the Seiji Ozawa project, William Rawn spent weeks in Europe observing and analyzing major concert halls in order to understand spatial qualities and the human experience. Rawn consulted with Lawrence Kirkegaard as the acoustician who advised him on certain elements of the design such as making sure elements were not perfectly aligned and symmetrical to avoid echo. Also Rawn was advised to avoid fl at areas where a ‘disconcerting sound pattern might develop.’ Kirkegaard urged the idea of symmetry with out being perfectly symmetrical, his ideal side walls would be, per- haps half a degree off parallel. Seiji Ozawa Hall at Tanglewood • William Rawn’s spaces involve interaction between interior and exterior space through the use of glass and openings to the outdoors to create a more engaging experience. The performance spaces also involve performer/viewer interaction by having open performance space and pathways that allow glimpses into practice space like in Williams College. This interaction is key for engaging viewers and attracting new users in the space.
13 (h) All Images Research
Fall River History
Fall River was the leading producer of cotton cloth in the United States in the late 1800s. Seventeen mill buildings were constructed throughout the city between 1871 and 1873, which caused a growth in the city’s population and textile production. Fall River built over 100 mills between 1813 and 1916. Part of the Quequechan River, which was used for water power, runs through the city and was built over with mills and the current interstate. With workers living in nearby crowded tenement houses the living conditions were strenuous and shabby. Depression hit in 1924 and Fall River was totally bankrupt by 1931, and they would stay that way for ten more years. This (f) left the city with many vacant mills when there were no jobs to provide for people. Fire also took many of the buildings. A fi tting motto for the city is ‘Try and try again.’ The 1810 Federal census reported a population of 300 people for the city of Fall River. Original mill workers were local inhabitants (Yankees) followed by English workers with the introduction of spinning machines. Next to enter the city and the mill scene were the French Canadians (my family) who generally remained in the city as well as the Portuguese from the Azores, followed by Italian, Russian, Greek, and Lebanese families
and workers. This gave the city a diverse population with many cultures, languages, foods, and other infl uences. Fall River also had a steamboat line that led the city in
textile production through the advancement in transportation. (11) (a9) Spoolers at a cotton mill
14 Research
Fall River Mills
1. Globe (southwestern section): Ancona, Montaup, Laural Lake, Osborn, King Philip, Shove, and Bourne mills. 2. Flint (Eastern section): Barnard, Wampanoag, Stafford, Flint mill, Seaconnet and Merino mills. 3. Center (Western section): Tecumseh No. 1, Robeson, Davol, Union Mills, Durfee Mills, Granite Mills, Crescent. Richard Borden, Tecumseh No. 2, Chace and Barnaby mills. 4. Bowenville (Shore of Taunton River, north of center): Merchanics, Weetamoo, Naragansett, Sagamore, and the two Border City mills. 5. South of the Center: The American Print Works, the Fall River Iron (e) Durfee Mills circa 1925 Works, the American Linen Company’s two cotton mills and the Mount Hope Mill.
6. Maplewood (South eastern section): Estes mills, Stevens mills, Fall River Bleachery
15 Research
Fall River Today Fall River is located approximately 50 miles south of Boston, MA. In 2009, Fall River had a population of approximately 90,885 individuals. 47% of these people are of Portuguese ancestry, one of the highest concentrations in the country. Many other cultures have lived on from the mill age such as French, Italian, Irish, and English, which have their niches in the city. As of March 2011, unemployment was at 18.4% compared with the 8.2% for Massachusetts as a whole. In 2009 the median household income for residents was about $33,124 compared with the Massachusetts median of $64,081. The crime rate in Fall River is also generally higher than the rest of the state, with theft being the largest issue and safety and security being of concern for public buildings. The city has two public high schools (B.M.C. Durfee, and (g) Resiliency Prep School) and three private private highschools, as well as at least 5 middle schools and some 21 elementary schools to educate its youth. (12) Several vacant mills and old school buildings and yards are scattered throughout the city, and the debate is whether or not to repurpose them or just tear them down. Many citizens believe that much of Fall River’s history is embodied within these mills and they need to be preserved. The Mill Owners Association of Fall River wants to see the mayoral candidate’s proposals for the revitalization of the mills and the city. This would take into account the Fall River Energy Enterprise (FREE) Initiative, which in part focuses on the restoration of the city mills. There are some ideas of creating a technical university in Fall River that would bring in students, professionals, academics, which would tie into my proposed ‘Sound House’. (14) (a10) Downtown 16 Research
Fall River Music Connection
There is a music community living in Fall River with venues for live performances and entertainment and local bands expanding out of the city. Venues including The Narrows Center for the Arts and Waterstreet Café are both performing venues for local and national artists. The Narrows is a 280 seat performance space that also includes a gallery and cafe that is located on the waterfront on the top fl oor of a mill building. I believe that ‘Sound House’ would work well with The Narrows, not compete with it. There are also local bands around the city like Our Lady of Light Band, which performs at Portuguese festivals and feasts around the country and the Azores, and
the rock group, Fighting the Infl uence. There are also a couple of small theaters (e) Narrows Center and Waterstreet Cafe including the Cultural Center that functions as a ‘functions’ facility as well. There are great cultural ties in Fall River as well, seen in the many restaurants, specialty markets, and festivals dedicated to all cultures like Fall River Celebrates America and The Holy Ghost Feast celebrating Portuguese culture in the region. There is a ‘music exposure’ program currently being implemented in some schools and community therapy centers in southeastern Massachusetts. A piece of music is played every morning before class or activities and David MacKenzie, music director/conductor for the New Bedford Symphony Orchestra, says “It opens the door to being more receptive to music. It’s very simple, but very powerful.” It allows people
to participate by listening and gets them focused. (28) 17 Research
Current Development/News
The mills in Fall River are currently being used for industrial, Candidates for city council and mill owners are assured manufacturing, retail, hospitality, residential and medical use. that the mills will play a signifi cant role in the future of the city. The data storage industry now occupies the former Globe Candidate Viveiros said “the mills offer adaptable space and Manufacturing facility. The Granite Block Global Data Center cost less than other development opportunities. All of the stores data using the newest communication technologies. The mayoral candidates are looking to the mills to help diversify chief executive offi cer of the company stated that other mills could Fall River’s economy, one candidate suggesting that the mills be used for computer server storage because of the attributes of could make the city a destination, using the Narrows Center of the mill “like large fl oor space, capacity for fl oors to handle heavy the Arts as an example. The candidate said “We’ll continue to
machinery and thick walls that provide extra security.” (21, 22) work to promote the arts culture and entertainment scene in
Other vacant buildings in Fall River, like the Second District the city to create jobs and bring people into the city.” (24) Court Building, are being sought out for redevelopment. A current The newly completed Veteran’s Memorial Bridge, city council candidate and developers are working together to opened on October 11th 2011, is anticipated to bring more repurpose the building into a music school or arts center, saying “It attention to the city. Connecting Somerset and Fall River
might make a nice music school or TV studio.” (23) Other vacant over the Taunton River, the bridge has brought new roads, buildings, including schools, are up for bid and the city is seeking signage and design to the area and allows for easier access profi table occupants. to both towns and neighboring areas.
18 Research
Music/Sound Sound/Acoustics Auditorium/Theater Sound and acoustics is a large factor in my project considering “Theaters serve as catalysts for the rejuvenation of urban areas, create I am working with a musical environment and need to design a space tourist destinations in rural areas, contribute to the synergy of emerging that provides the best auditory experience. Sound is produced when cultural districts, nurture the artistic maturity of students, draw the public to there is a disturbance of an elastic medium, like vibrating a musical string
university campuses, or enhance fl edgling arts organizations.”(1) or when an object hits the fl oor surface. Sound waves then generate
What makes a good theater space: away from the source at a rate depending on the elastic properties • Communication between audience and performer of the medium. The sound waves then cause the eardrum to vibrate, • Intimacy • The performers (or musicians) should be the focus and the rest of the which induces hearing. theater should support that • Actors (sound) should appear larger than life Sound can be measured in frequency (pitch), the number of complete vibrations per unit of time, and magnitude, the intensity of Seating orientation: • Theater in the round presents free-standing fi gures with a background the acoustical energy in the sound wave. Every acoustical problem of scenic elements • Proscenium production presents fi gures in front of a scenic picture can be considered in terms of a system of sound sources, paths and • Performance and viewer interaction: having the performance spill receivers. The effi ciency of sound-absorbing materials is measured by into the audience its sound absorption coeffi cient, which is a ratio of the incident sound to the refl ected sound (scale of 0-1). The surface fi nish layer applied to
STAGE a surface will infl uence the high-frequency absorption, and whatever is
STAGE behind the surface facing infl uences the low frequency absorption.
19 Research
Acoustical Design Materials are also used to cut down on reverberation in rooms, Whole Building Design Guide explains that an integrated that is the seconds of time for the sound level to decay 60 dB after the design approach is the best solution for incorporating acoustics into source is shut off. The heavier and more complex the construction of a project’s development. WBDG says that “Several common noise a sound-isolating wall/ceiling/fl oor, the less likely sound will be able to problems affect these occupancies: too much noise outside the transmit from one side to the other. Double layer construction is also building entering the space; too much noise from adjacent spaces; effi cient in this situation. Sound isolation is needed for live recording and the lack of sound control in the space itself.” (25) studios to eliminate all unwanted noises. Acentech Studio A, consultants in acoustics, audiovisual, and Acoustical Material Options vibration, utilize current computer modeling and acoustic simulation
Acoustical Deck: usually perforated steel backed by absorptive technology. This allows clients to experience the potential sound of material like fi berglass the space during the design of the project. Acoustical Foam: usually polyurethane Acoustical Plaster: has porosity after drying Acoustical Tile: made of mineral or cellulose fi bers, or fi berglass Carpet: absorbs and attenuates sounds Cellulose Fiber: basis of many acoustical materials Curtains/Fabrics: absorb sound Duct Lining: acoustical isolation for duct interiors (y) All Images Laminated Glass: better sound attenuation than regular glass (6)
Acoustical Product Inspiration
• Karim Rashid designed Soundwave series • Gives texture, pop, and provides acoustical barrier 20 Research
Cymatics
Cymatics is the study of sound waves and vibration, and demonstrates the transformational nature of sound. Sound waves are used to excite liquids and solids to reveal a beautiful interaction. There is a constant shift between order and chaos in the patterns that are produced. (26) The study of how sound waves affect matter has been connected to alternative healing. There have been studies conducted involving the health benefi ts of sounds as applied to physical matter. The art form of cymatics demonstrates the connection between
sound waves and something physical. Cymatic therapy is based on the idea that sound can (a2) have similar effects on the human body as it does with matter. Exposure to sound waves promotes a healing environment and some practitioners of cymatic therapy believe that sound waves can rearrange molecules in the body. These healers believe that all parts of the body vibrate and therapy provides the most optimal environment for cells and organs. (27) See videos
Non-Newtonian Fluid on a Speaker cone (Non-Newtonian Fluid: becomes more viscous and gains a higher internal friction when it is disturbed) http://www.youtube.com/watch?v=3zoTKXXNQIU&feature=related
Cymatic Soundscapes-Excerpt http://www.youtube.com/watch?v=JizccrBXOY8&feature=player_embedded#!
Sand Vibration Patterns-Chladni Plate http://www.bing.com/videos/watch/video/sand-vibration-patterns-chladni-plate/65e7695a2d2f4473d- b2865e7695a2d2f4473db28-1076427358756?cpkey=c17be17278c60048b432c17be17278c60048b432-10767- (a3) 22598277%7Cvibration+resonance+youtube%7C%7C%7C 21 Sustainability
Site & Sustainability Maintaining the HVAC equipment will prevent stresses and Sustainability is a major part of ‘Sound House’ from the very basis of ineffi ciencies, raises in consumption costs, breakdowns, and will provide re-using and re-purposing a vacant building. The granite that the building is a healthier indoor environment. There is potential for the roof to be constructed of was sourced from the natural granite quarry that is located turned into a vegetative or ‘green’ roof, cutting down on energy loss in the city of Fall River. All of these mills scattered throughout the city have from the building. The roof could help reduce energy costs by regulating so much potential to create new, useful spaces that are good for the the building temperature, extend the life of the roof with an extra layer community. By introducing a new interactive space into the Durfee Union of protection, and prevent sound pollution from outside sources. Mill Complex, it will further encourage other businesses and organizations High effi ciency toilets (HETs) will be used in order to conserve water. to see the potential in these beautiful buildings and make a new home for The plumbing industry and the Environmental Protection Agency (EPA) their business. This will bring life, money, education, and prosperity into the have stated that HETs are toilets that use an average of 20 % less water region. per fl ush than the industry standard of 1.6 gallons. Varieties include dual- The Leadership in Energy & Environmental Design (LEED) has a green fl ush with light and heavy load options, and a gravity-fed single fl ush building rating system that encourages smart practices and design methods. which uses less total capacity per fl ush. The system is designed to build healthy buildings. Natural resources are the most important factor in sustainability and they must be protected and used responsibly. They include energy, materials, ecosystems, land, air, and water. It is important to provide recycling opportunities and education for users of the space with easy to see and use receptacles. Sustainable and low VOC products are also important to source for a healthy interior. (a4) 22 Sustainability
Sustainability in Acoustics “Sustainable acoustics is about applying the principles of acoustics to remove the problems that obstruct a “One planet” or “sustainable” solution.” -Peter Rogers, associate at Cole Jarman Associates A major issue in modern day cities is the problem of noise pollution, which is apparent in Fall River. The highway and interstate pass directly by the Durfee Union Mill Complex, so careful consideration needs to be placed on window treatments and wall fi nishes to reduce the noise pollution as much as possible. (a5) Many acoustical products like carpet, ceiling tiles, and insulation are made of recyclable materials. There is a large variety of acoustical ceilings and walls that are sustainable, acoustical, and aesthetically pleasing. Options include clouds, canopies, baffl es, and deck-mounted acoustical ceilings. Armstrong also has a ceiling-recycling program called Ceiling-2-Ceiling that specifi es recycled content tiles from a loop process recycling system.
23 Limitations/Codes
Sound House is a mixed occupancy space including Assembly (A-1) and Education (E) according to the International Building Code. The IBC and the Life Safety Code determine the maximum fl oor area allowances per occupant using the space.
Occupancy Plumbing
Assembly space: The International Plumbing Code determines the number of • 5 net sq. ft. per occupant with non-fi xed chairs required plumbing fi xtures per occupancy load. • 7 net sq. ft. per occupant for standing space Assembly space: Stages and Platforms • 1 lavatory per 200 occupants • 15 net sq. ft per occupant • 1 water closet per 125 males • 1 water closet per 65 females Classrooms: • 20 net sq. ft. per occupant Educational: • 1 lavatory per 50 occupants Egress • 1 water closet per 50 males • 1 water closet per 50 females The ADA standards determines the appropriate widths for aisles and accessways. The IBC sets the number of exits for the Noise Pollution occupant load. The Sound Transmission Coeffi cient and Noise Reduction • 1-500 occupants per story requires 2 means of egress per Coeffi cient are both used to measure sound transmission and story help prevent or reduce noise pollution. (20) • In Assembly space or Education space exit access must not exceed 200 feet if there is not sprinkler system and 250 if there is a sprinkler system present.
24 Site Option: Pepperell Mill
Pepperell Mill 502 Bedford Street Fall River, MA 02720 508-676-3921
Current Tenants: • Fastenal: Calibration and lab testing • Griffi n Manufacturing: Apparel • Penny Pockets Ltd: Embroidery and design • Entourage: Sports Bar & Nightclub • Creative Auctions: Auction, Appraisal, and Exchange Services Pepperell • Merrow: Sewing Machine Company Mill • Visiting Nurse Association
• Constructed in 1871 from Fall River granite in Italianate
style. Map data ©2011 Google - • Family owned building since 1993, before it was (j) Site location with neighboring schools Anderson- little Manufacturing. • $8 per sq. ft. • Space for lease on 1st fl oor: 13,500 sf • 9 public elementary schools, 4 middle schools and 1 public high school: Within one mile of mill • Original granite mill building • Accessible by bus, car, foot • Room for expansion
(e) all photos 25 Site Selection: Durfee Union Mill
Durfee Union Mill Complex-Building #11 Fall River, MA: Point A = Durfee Union Mill Complex 187 Plymouth Ave. 405 Pleasant Street Fall River, MA 02721 At the Intersection of Pleasant Street and Plymouth Ave. Owner: Greg Squillante 508-674-2200
Durfee Union Mill Complex: Building Orientations N sun sun set rise
©2011 Google - (i) Bldg #11 Current Tenants: • Various retail shops: Flag store, Handbag store, Portuguese bakery • Fall River Offi ce of the MA RMV • Prima CARE medical clinic and Administration offi ces • Pub 99 Restaurant • Nate Lions: Mattress Dealer • Millbillies Art Studio • Offi ce Furniture Supply • Hydroponics growing facility • Gym Location: most potential sunlight; parking available (e) 26 Site Selection: Durfee Union Mill
Building #11 • Constructed in 1866 in the Italianate style, the entire complex is the oldest in the city. • Building #11 is a six-story building with an approximate total usable square footage of 158,336 and approximately 24,000-25,000 of usable square feet per fl oor. • There are 9 public elementary schools, 4 middle schools and 1 public high school within one mile of the chosen building. • Public buses run along Plymouth Ave as well as Bedford Street making access easy. There are also public parking lots on site. • Original granite mill building • Accessible by bus, car, foot • The downtown location for ‘Sound House’ would be easily accessible for all of the community and add to the continually growing mill com- (e) munity in the neighborhood. It is surrounded by businesses, health care facilities, auto sale, restaurants, housing, and parking lot space. • Room for expansion of facility
Durfee Mill Complex
(e) (j) Site location with neighboring schools 27 Site Selection: Durfee Union Mill
Drawings by architect Andrew DiGiammo Plans/Section -Not to Scale Final site location
28 Existing Interior Space
Chosen location • First Floor: Currently occupied by Flag & Gift Store, Felicia’s Bridal, and Offi ce Furniture Supply • Second Floor: Currently vacant, previously occupied by an antiques showroom
(e) all images
29 Existing Interior Space
• Ten-foot spacing between steel columns • Columns sit on a granite base which is buried in a crawl space beneath the building. • Ceiling height fl oor to electrical/mechanical is 9’1” • Ceiling height fl oor to fi nished ceiling is 11’11” • Windows are centered between beams along the East and West long sides of the building.
(e) all images
30 PROGRAMMING
31 Programatic Elements
SPACE QUANTITY SQ.FOOTAGE Lobby/Reception 1 800 Director's Office 1 200 Director's Assistant 1 150 Music Therapy Office (for 2 ppl) 1 300 Music Teacher Office (for 6 ppl) 1 400 Tech Crew (2 ppl) 1 200 Staff Café/Event Space 1 1200 Men's Restroom 3 150 Women's Restroom 3 150 Group Music Space 3 600 Sound Experience Space 3 400 Tech Suite 2 500 (m) Perf. Hall/Backstage/StageCtrl 1 2200 Café 1 Rentable Space? One-on-One Space 6 200 Circulation 35% 5145 Storage (Instrument, equipment) 1 200 Floor Cutouts 1 2400 Electrical Room 1 150 TOTAL SQUARE FOOTAGE: 19,845 (i) 32 Lobby/Reception
Quantity: 1 Approximate Size: 800 sq. ft.
• This space will serve as reception for classes and performances, check-in, waiting area. • Open, energetic, and playful to give users a welcoming fi rst impression of the entire space. • Rhythmic fl at metal strip fl ows through the space, and is inlaid into the fl oor and reception desk at some points. • Use of the existing wood fl oor and steel beams mixed with metal, color, and rhythm. • The harmonic celebration of old and new
Space requirements:
Reception desk with computer system Bench style seating to accomodate Security Decorative lighting Sculptural elements
33 Group Music Space
Quantity: 3 Approximate Size: 500 sq. ft. each
• User group: (E)-Education • The group room functions as a space for gathering, practicing, and educating. The group rooms will be the site of instrumental lessons as well as rehearsals for group performances. Weekly seminars concerning music theory, artists, genres, etc. will also be held in these spaces or the combined space of the three group rooms. • Group classes will range from 7 to 10 students. • Group rooms have potential to open up into one another with (k) retractable walls to create an assembly space. • The overall feeling of these rooms will be one of energy and togetherness to encourage the children and adults in the musical program. The spaces will be dimensional, not fl at, to evoke a sense of rhythm and harmony into the room.
Space requirements: retractable/ moveable walls Adjustable lighting for different activities Acoustical properties Instrument Storage: One piano in two of the group spaces; brass, strings, Group woodwinds, guitars, drums Moveable Seating Projection Screen Speaker/sound, cable system Small stage in one group space Group Group
34 Sound Experience Space
Quantity: 3 Approximate Size: 250 sq. ft. each Angela Bulloch, To the Power of 4., 2005 Secession • The Sound Experience spaces function as a space to interact with sound and music in a non-traditional way. The objective of the spaces is either to ‘see’ sound, experience a particular quality of sound, or interact with sound in a way that is fun, new and exciting. • The Sound Experience rooms will have no more than a few people in them at a time in order for an individual to get a personal experience and get enveloped by the qualities of sound, color, light, and emotion that they will feel. • The Experience rooms will be interactive in the way they intrigue the senses of the user, visually, auditory, as well as their sense of touch.
Sound experience focuses (n) Room A: Exhibition of a color/light show that will provide a visual accompaniment to musical sounds and melodies that are being played within the room. The room will be minimal with little furniture and seating. The user will feel totally enveloped by color, light, and sound and have an emotional connection to what they are seeing and hearing.
Room B: Visual experience of vibration through demonstrations of Cymatics. Speakers will emit beats at different hertz while a cornstarch and water mixture reacts to the sound. It will be interactive by having students adding dyes to the mixture to create color and experience this unique experience. Also the room will provide an experience related to how patterns are created through exposure to different sound waves. This involves a metal sheet (approximately 5’x5’) with sand being poured on top. The different frequencies and melodies create different patterns.
Room C: This room will be highly refl ective with hard, non-sound-absorbing materials. It will be clad on all surfaces with materials that encourage echo and reverberation. (z) 35 Sound Experience Space
• Sound Experience spaces are clustered together to create a zone. • Use of a hallway to get to spaces: detatch from hectic life and focus on the sound and sensory experiences. • Sound Experience includes closed rooms and open space
Sand Cymatics & Cornstarch Speaker
(a1)
36 Technology Suite (Recording Booth/Lounge)
Quantity: 2 Approximate Size: 300 sq. ft. each
• The Recording Booth/Lounge functions as a technology suite where users can utilize and learn the techniques of manipulating sound. • An attached soundproof booth is available for recording live vocals and instrumentals. • This space can be a place for an intimate group to enjoy a personal project and will have a feeling of exclusivity and privacy. • There is also one-on-one education in this room, which will also feel exclusive.
Space Requirements:
Latest software (Logic Pro) Mixing equipment (mixers, synthesizers, turntables, etc.) Speakers, Subwoofer amps (l) Monitor screens Microphones Custom work tables Lounge style seating Adjustable lighting High quality acoustics
(o)
37 Performance Space
Quantity: 1 Approximate Size: 2000 total sq. ft. with 500 sq. ft. stage Approximate capacity with chairs: 300 Approximate capacity while standing: 214
• User Group: (A-1)-Assembly • The Performance Space functions as a gathering space for perfor- mances put on by ‘Sound House’ students as well as local or traveling performers. The space is fl exible without fi xed seating in order to accomodate different groups of people and genres of performance. • The space may have a hip hop show with a dance fl oor on a friday night or a string quartet on a sunday for some easy listening. • The space will feel versatile and have a sense of energy through the impermanent nature of the seating and walls. • The overall concept with vibrant, energetic color and rhythmic (p) pattern and shape will be used in this space in a larger scale creating a fun and ageless environment.
Space Requirements:
Moveable/retractable walls/partitions Comfortable, light, moveable seating Stage Backstage Variety of lighting, adjustable, directional, theatrical Durable acoustical fl ooring
(p) Sliding acoustic partition
38 Performance Space
Basic theater Form: End Stage Quantity of Seats: 92 Seating Area: 956 sq ft Space per Seat: 10.4 sq ft Row Spacing: 3’-3” Most Distant Seat: 37’-0” Stage Elevation: 12” Floor Design: Flat
Basic theater Form: End Stage Quantity of Seats: 105 Seating Area: 903 sq ft Space per Seat: 8.6 sq ft Row Spacing: 3’-0” Most Distant Seat: 35’-0” Stage Elevation: 5” Floor Design: Risers 12”
Basic theater Form: Wide Fan Quantity of Seats: 253 Seating Area: 1790 sq ft Space per Seat: 7.1 sq ft Row Spacing: 3’-0” Most Distant Seat: 48’-0” Stage Elevation: none Floor Design: Risers - Varying Height 10.5” to 16” 39 Flow of Traffi c: Bubbles
Primary user routes
Performance Sound Hall Experience
Coat Storage Reception Restrooms Group Space
Staff Cafe Entry Cafe One-on-One Electrical Ctrl
Non-student User Production Teacher Director & Tech Room Studios Offi ces Asst.
Performance Reception Restrooms Hall Production One-on-One Studios Cafe Sound Entry Group Space Experience Staff User
Coat Storage Reception Restrooms
Entry Cafe
Student User 40 Organizing Space: Block Diagrams
electrical public lobby/ control reception tech staff crew performance hall storage cafe offi ce
restrooms performance hall director and assistant offi ce restrooms recording restrooms booth/ music music lounges teacher coat cafe therapy offi ce offi ce storage sound experience coat storage lobby/ one-on-one reception rooms group rooms music semi-private therapy offi ce recording cafe tech one-on-one booth/ sound experience private restrooms storage crew rooms lounges offi ce storage
staff storage cafe group rooms electrical music control Adjacencies teacher director and primary adjacency offi ce assistant offi ce secondary adjacency
public space semi-private space private space 41 Criteria Matrix
Acoustical Special Natural SPACE QUANTITY SQ.FOOTAGE Control Security Equipment Lighting Plumbing
Lobby/Reception 1 800 Director's Office 1 200 Director's Assistant 1 150 Music Therapy Office (for 2 ppl) 1 300 Music Teacher Office (for 6 ppl) 1 400 Tech Crew (2 ppl) 1 200 Staff Café/Event Space 1 1200 Men's Restroom 3 150 Women's Restroom 3 150 Group Music Space 3 600 Sound Experience Space 3 400 Tech Suite 2 500 Perf. Hall/Backstage/StageCtrl 1 2200 Café 1 Rentable Space? One-on-One Space 6 200 Circulation 35% 5145 Storage (Instrument, equipment) 1 200 Floor Cutouts 1 2400 Electrical Room 1 150 TOTAL SQUARE FOOTAGE: 19,845
Yes Of high importance 42 SCHEMATICS/DESIGN DEVELOPMENT
43 Parti Exploration
Harmonic fl ow with notes of linear and angular elements.
Organic and geometric form
Vertical diagram of parti
44 1/16”=1’-0” Model
Entire building model showing fenestration pattern
Open fl oors showing beam and column pattern on fl oor 1 (typical)
45 1/8”=1’-0” Model
Floor 3
Looking into 2nd Floor Cutout Floor 2
Floor 1 Selected Space Model 46 Schematic Brainstorming
One Floor Study / all program elements on fl oor 1 Two Floor Study / public elements on fl oor 1; classes and staff on fl oor 2
47 Schematic Brainstorming
Three Floor Study Three Floor Study / integration of parti into plan
48 Schematic Brainstorming
Section Study / dome and color shaft exploration / vertical parti integration
Facade Study / introduction of modern color window slots
49 FINAL PROJECT
50 Floor Plans
Not To Scale
A Floor 1: Public Spaces: Cymatics Demo, Sound Lab, Color Shaft, Performance Space
C -Entire fi rst fl oor of building and enlarged selected space: approximately 8,400 square feet
B
N 51 Floor Plans
Not To Scale
Floor 2: Teaching/Learning Floor 3: Staff/Event Space: Spaces: Group Spaces, One-on- Offi ces of music teachers, one Spaces, Technology Suites, director, tech crew, music library, base of egg dome , continuation staff cafe, event space for of Color Shaft fundraisers etc., peak of dome, continuation of color shaft
-Selected space: -Selected space: approximately 8,400 square feet approximately 10,600 square feet
52 N Refl ected Ceiling Plans
Not To Scale
20” aperture CF pendant 12” aperture CF pendant
4” downlight 4” uplight double sconce CF single sconce CF industrial cage pendant strip fl uorescent
directional downlight
Floor 1: Public Floor 2: Teaching / Floor 3: Staff / Event 53 Learning Fixtures / Furniture
INDUSTRIAL: Integrated with the original aesthetic of MODERN POP: Fresh, organic, juxtaposition with Industrial aesthetic historic mill
(a12) (a11typical)
(a14) (a13)
54 (a13) Equipment / Materiality
(a17) Color Shaft: Cells within glass react and change when exposed to sound- waves
(a15) Armstrong Woodworks slat wood
(a16) 55 Offect 2x2 Acoustic Panels Perspectives
Reception / Color Shaft 56 Perspectives
Outside of Performance Space 57 Perspectives
Inside of Performance Space / View of Inner Dome 58 Perspectives
3rd Floor Event Space / View of Dome Breaking Through 59 Perspectives
Group Space 60 Perspectives
3rd fl oor event space / staff cafe
Entry signage
One-on-One Space
61 Sections
Not To Scale
South Section / Inside Performance South Section / Outside of Dome 62 Section
Not To Scale
Longitudinal Section / Southeast
63 Facade Elevation
Not To Scale
Emergency Entrance Main Entrance Secondary Entrance
64 Presentation May 1, 2012
65 CONCLUSION
There is a deeper connection between design and music than previously known. Sound itself can literally be translated into a unique visual image. It is a natural and amazing experience that produces an emotional reaction and helps provide a better understanding of how different frequencies of sound affect objects and possibly our own bodies. Through the combination of thoughtful design, proper acoustical application, and playful programmatic elements, SoundHouse of Fall River exposes the community to music and sound in a different light.
66 Works Cited
19. Waugh, Jamie. “Service Station.” Dwell. Dwell Media LLC, 24sep2008. Web. 1. Hardy, Holzman, Pfeiffer Associates. Theaters. Hong Kong: Everbest 4 Oct. 2011.
67 Images
a. Hardy, Holzman, Pfeiffer Associates. Theaters. Hong Kong: Everbest Print a7. http://www.pillsburyphoto.com/photo.php?photo_id=000000741 ing Co. Ltd., 2002. 15. Print. a8. http://www.heraldnews.com/news/education/x698051014/GUEST- b. CSMA. 2011. Web.
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