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Table of contents
Introduction............................................................................................................................................3

Massing..................................................................................................................................................3

What Is Massing Study?.........................................................................................................................3

What Is It Needed For?..........................................................................................................................3

Design of Music Studio..........................................................................................................................4

Layout....................................................................................................................................................4

Some Isolation........................................................................................................................................5

Positioning the Equipment.....................................................................................................................5

Wall Treatment.......................................................................................................................................5

Evaluation..............................................................................................................................................6

Sun Path.................................................................................................................................................6

Hazards form local geography and the risk of flooding.........................................................................7

Appropriate sustainable strategies..........................................................................................................7

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List of figures
Figure 1 Layout of Recording studios....................................................................................................2
Figure 2 Sun Path...................................................................................................................................4
Figure 3 sustainable strategies................................................................................................................6

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The purpose of structural massing is to determine how large, what shape, and what orientation your structure
should be.

Introduction
Salford Studios is an on-demand music facility. This music facility is provided in the Salford
accommodations where the University of Salford students live during their academic years. As a site
development, this is a great opportunity for those students who love music and want to learn or improve
their music skills. Different studio houses in the University of Salford provide this potential facility to the
students of the University of Salford. This is a potential opportunity; therefore, the arrival of people,
deliveries, and the equipment of construction matter most here. Different strategies will be followed in this
scenario.

Massing
Massing is a term in architecture which refers to the perception of the general shape and form as well as size
of a building.

What Is Massing Study?

Massing study is the study of the general shape, form, and size of the project. It is often the starting
point of architectural design. Massing study helps the architect see the project in terms of masses or blocks.
Massing refers to the structure in a three-dimensional form. It also helps in determining the functionality of
the structure.

What Is It Needed For?

Massing study is needed for all structures. The massing decisions depend on the specifics of each site
and its goals. It can have a significant impact on the surface area of a building enclosure, the walls, ceiling,
and foundation of the structure.

Good massing allows the architect to determine the best size, shape, and orientation of the building. It also
allows you to live comfortably base on how the sun rotates around the home. Massing is one of the
fundamental steps to drawing up plans.

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Design of Music Studio

Layout

Recording studios generally consist of three or more rooms:

The live room of the studio where instrumentalists play their instruments, with their playing picked up by
microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit
outputs to the mixing board (or by making the speaker cabinets for bass and electric guitar);

Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists (or their loud
speaker stacks). Vocal booths are similarly designed rooms for singers. In both types of rooms, there are
typically windows so the performers can see other band members and other studio staff, as singers,
bandleaders and musicians often give or receive visual cues;

The control room, where the audio engineers and record producers mix the mic and instrument signals with
a mixing console, record the singing and playing onto tape (until the 1980s and early 1990s) or hard disc
(1990s and following decades) and listen to the recordings and tracks with monitor speakers or headphones
and manipulate the tracks by adjusting the mixing console settings and by using effects units; and

The machine room, where noisier equipment, such as racks of fan-cooled computers and power amplifiers,
is kept to prevent the noise from interfering with the recording process.

Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still
need to be able to see each other, to see cue gestures and conducting by a bandleader. As such, the live
room, isolation booths, vocal booths and control room typically have windows.

Figure 1 Layout of Recording studios

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Some Isolation
After adding gaskets to the doors, isolation from the rest of the house is adequate as long as recording is
limited to quiet times. (We checked this out before we moved in!) Noise from the street is an occasional
problem which was helped a little by drapes on the window. An additional drape across the doorway made
only a slight improvement in isolation and was really in the way, so we gave it up.

Positioning the Equipment

After some experimentation, we decided to locate the speakers each side of the window. Since speakers tend
to move gypsum as well as air, outside walls are always your first choice if you are concerned with sound
control. Incidentally, these are obviously not near field speakers. Near field monitors should not be against a
wall, but most large systems depend on a wall backing for extended bass response. The speakers were hung
about 6 ft from the floor. This is a bit on the high side, but was necessary to allow the placement of a writing
table underneath them.

The speakers wound up eight feet apart. This placed the "sweet spot" eight feet from the wall along the
center line of the room. This in turn dictated the location of the mixing board and other equipment. Once the
equipment was set in place, we checked for reflective phase interference from the console or cabinet tops.
This can be tested with a mirror and a flashlight. Set the mirror on the console and hold the flashlight by
your ear aimed at the mirror. If the light beam falls on or near the speakers there is a potential reflection
problem. This can usually be fixed by propping up the back of the board.

Wall Treatment
At this point we were down to two problems: the rising frequency response of the reverberation and the
standing wave. We attacked both problems at the same time with some carefully placed absorptive panels.
These were made of R-19 fiberglass and measured 2 ft by 6 ft. (They do not need to extend down to the
floor because the furniture scatters sound at that level.) Most of this absorption wound up on the walls near
the speakers-- this cleaned up the last of the short delay reflections and resulted in a very clear sound image
between the speakers. The absorption was brought along the side walls to soak up the standing wave. We
wanted to keep the room symmetrical, so we spaced out the absorptive panels, winding up with a pattern
where bare wall on one side was opposed by absorption on the other. A large section of absorptive wall near
the left speaker created a dead corner for recording vocals.

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The curtain over the window Is too light to be a really broadband absorber, but it combines with the low
frequency absorption of the glass to give a reasonably flat overall effect. The carpet and wooden floor
interact in much the same way.

We found the sound to be balanced in frequency when the walls were about one third covered with
fiberglass. This left the side walls near the back of the room untreated so we added diffusion. This is
provided by some homemade diffuser panels on one side and some very cluttered bookshelves on the other.

Evaluation
This particular project cost about $30, and I must say I am quite pleased with the results. Gilligan stays in
the bedroom down the hall, and quiet activity in adjoining sections of the house causes no problems with
close mic recordings. A mono signal fed to both speakers appears to be centered precisely between them,
and any imbalance in a stereo signal is immediately obvious. The room has a soft, comfortable ambience
and the music produced there sounds just fine out in the real world.

Sun Path
Sun path, sometimes also called day arc, refers to the daily and seasonal arc-like path that the Sun appears to follow
across the sky as the Earth rotates and orbits the Sun. The Sun's path affects the length of daytime experienced and
amount of daylight received along a certain latitude during a given season.

Figure 2 Sun Path

The relative position of the Sun is a major factor in the heat gain of buildings and in the performance of
solar energy systems.[1] Accurate location-specific knowledge of sun path and climatic conditions is
essential for economic decisions about solar collector area, orientation, landscaping, summer shading, and
the cost-effective use of solar trackers

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Hazards form local geography and the risk of flooding.

The main hazard in this orientation and location is the presence of signals outside of the building that can
create difficulty for the visitors. And the probability of a building to be flooded depends on the source of a
flood near the building, like a sea, river, or wastewater route. According to the map study, we can say that
food can be an issue for this area in the future. River, or excessive surface water, or rainwater can cause
flooding that will be harmful to the building. And there is a flood risk assessment suggested in this specific
area by the experts due to the presence of large river near the university and away from this structure.
(Vit.Vilimerk,January,2009),

Appropriate sustainable strategies.

The best sustainable strategy will be its location and orientation, having a face towards the sun that will
make it receive maximum solar energy during winter. And lose less energy in summer. That can make it
economical or energy efficient in different aspects. If we construct car parking in the basement of the
building, then it will reduce the construction cost. And if we install another source that will make electricity
for this building from a natural source, it will be much more economical and energy-efficient. If we install
solar panels on the top of the roof of this building that will make electricity for this or we install the wind
turbines in the middle of the garden outside of this building as this area has an enormous amount of the wind
because of sea boundaries near to this city. So, both of these two options will make this building sustainable
and energy-efficient that will reduce its expenses a lot more on an early basis.

Suppose we make a garden on the outside of the building that will be environmentally friendly and will be
an attraction for the visitors to the cinema. It will make this structure beautiful and sustainable. It also will
make the visitors to stay longer in the cinema. And if we install outdoor night cinema in this garden, it will
make a beautiful environment for outdoor sitting at night.

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Figure 3 sustainable strategies