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.