4.

1 Design Concept

4.1.1 Project Concept

-Modern Structuralism
Structuralism aimed at expressing social patterns and relations and these apprehended as permanent
and invariant and definitely not possible to change, social patterns were apprehended not only as
invariant but also complex and, therefore, ideal buildings and city should be complex.
- Theory of Functionalism
- Interactive architecture
-innovative architecture
-fluidity in movement

4.1.2 Concept form

Music intervals

The project concept of the proposed music center is from the form of music sheet and the notes
within it

4.1.3 Design Application

CORE DESIGN CONTENT

Including teaching buildings, practice studios, library, theater (700-seat), concert hall (500-seat),
rehearsal hall (200-seat), sports complex building, administrative office building, student
dormitory and staff dormitory, and underground space.

4.1.4 Design Evolution

4.2 Design Philosophy

Designing integrated architectural spaces toward broader possibilities

Architecture becomes music
Simplicity is the ultimate form of sophistication
Music and architecture as an art form

“When I see architecture that moves me, I hear music in my inner ear”

“Talking about music is like dancing about architecture”

“Creating architecture from musical patterns allows the creations of formal and spatial structures
best suited to musical related functions and experience music itself.”

Architecture creating music as well as music creating architecture

 Beauty and Aesthetics

-The overall appeal of a

building that aesthetically
pleasing for users’ eye.
Music and architecture
creating each other

Music forms space Space Configuration

- the interrelation of spaces

Music a source of between each other. inspiration and
harmony in architecture

4.3 Design Consideration

Acoustics

- To achieve uniform
quality of sound over the
entire music facilities.
Spaces within the music
center like the recital and
performance hall demand a
very careful acoustical
analysis.
Safety and security

- efficient number of
devices and facilities that
will aid the users during
emergency.

Building Materials

- Materials conforming
beyond the standard
requirements of an
acoustically inclined
establishment to maximize
the capability of facilities.

Building Technology

- Installation of this
modern equipment will
heighten not only the
facilities of the structure
but as well as the learning
potential and inspiration of
the users.

Sound and Noise

- Sound and noise are the

most important factors in
building music facilities. A
good acoustic design must
4.4 Design Objectives

- To design

For auditorium
- Audience should feel enveloped or surrounded by the sound.
- Sound must have adequate loudness that is evenly distributed throughout the hall.
Noise from exterior sources and mechanical equipment must be controlled so that instrumental sound
can be heard.

4.5 Building Materials

Teak timber wood-

Timber columns- representing 4/4 rhythm

Sound Absorbers- Sound absorber panel are used to eliminate sound reflections to improve speech
intelligibility, reduce standing waves and prevent comb filtering. Typical materials are open cell
polyurethane foam, cellular melamine, fiberglass, fluffy fabrics and other porous materials. A
wide variety of materials can be applied to walls and ceilings depending on your application.

Acoustical Panels- by placing a set of acoustic panels on the wall and the ceiling the background
noise can be cleaned as the echoes are caught and captured, greater clarity to original sound
restored.

Types
1. Acoustical foam panels-
2. White paintable acoustical wall panels

3. Fabric wrapped panels and blankets

4. Acoustical wall coverings

5. Ceiling tiles

6. Baffles and banners for ceiling

Sound Reflectors
Noise Barriers- Materials range from dense materials to block the transmission of airborne sound to
devices and compounds used to isolate structures from one another and reduce impact noise.

Sound Diffuser- These devices reduced the intensity of sound by scattering it over an expanded area,
rather than eliminating the sound reflections and absorber would. Tradit

Types

1. Quadra Pyramid-
2. Pyramidal-
3. Double Duty-
4. Quadratic-

Wall cladding with stainless steel mesh

Stainless steel perforated metal

Concert hall- inner parterre walls shaped based on reverse fan shaped geometrics to maximize
reflection coverage

Wood can truly enhance the visual beauty of a concert hall, and proper use can improve concert hall
acoustics. Here are some cautions though. If a wood panel is too thin and there is air space behind
it, it will cause panel vibration as well as absorb low frequencies, similar to thin plaster or
gypsum board. Thick layers of plaster should back up wood panels to prevent low frequency
absorption. In design considerations, such as arched structures and ceiling, wood should be
 stressed to be prevent vibrations.

Recital hall- diffusive wall treatment with retractable absorption

Rehearsal room- dynamic overheard reflector to control reverberation and supportive early reflection.

Flooring

Low-e glass helps keep unwanted UV rays out of your home that can damage your skin and furniture.
It also helps control the amount of infrared light that enters and leaves the room.

Shingled Glazing

Ceramic Cladding- What Is Terracotta Cladding? Manufactured with natural and aged raw clay without
other chemicals, fired at high temperatures, terracotta cladding is an architectural cladding material that
provides certain degree of thermal insulation and weather resistance while creating an aesthetically
pleasing facade.
Considerations
There are a few subjective measures associated with sound, among them loudness and quality. Loudness
is expressed in units of phons to provide a qualitative measure, a phon being defined as the pressure level
in dB of a 1000 Hz. tone against which a person compares another pure or complex tone. Another
measure, the sone, is defined as the loudness of a 1000 Hz., 40 dB tone. A relationship can be plotted
between phons and sones.

Quality is the subjective measure of the pleasantness or unpleasantness of sound which can make sounds
of the same loudness appear more or less disturbing. Music typically combines fundamentals and
harmonics to produce a pleasing sound, whereas in the case of noise, the frequencies are irregular and
random. Among the attributes used to describe sound quality are pitch and timbre. Pitch is determined
mainly by frequency, then intensity and wave shape while timbre is determined mainly by wave shape,
then by intensity and frequency. It is these differences that enable us to distinguish the same note played
on a brass horn and a woodwind as coming from different instruments.

As mentioned, sound can find its way through the smallest gaps in an otherwise impenetrable barrier, a
phenomenon known as “flanking.” Where air passes, so too will sound. Cracks which provide clearance
for ordinary doors to function provide enough clearance for noise to pass. Penetrations through walls for
piping and ductwork will also permit sound to pass, as will the pipes themselves, and these gaps should
be properly sealed. Where barrier walls adjoin other walls or floors, a sealant can be used as well to close
up any gaps.

A few rules of thumb apply to soundproofing and sound absorbing. Usually, doubling the mass of a wall
will produce a noticeable reduction in the level of sound coming through it. When adding sound
absorption to a room, usually it takes a 3 dB reduction in sound levels to affect a perceptible difference.

Most of the material described herein relates to common industrial sound and noise problems found in
offices, factories, etc. There are special cases where the acoustics of a room are important from the
standpoint of being able to hear the sounds without losing their liveliness: concert halls, recording studios,
etc. Here is where diffusors come into play. They create a sense of spaciousness in a room by scattering
sound waves to reduce echo and standing waves, giving the sound better clarity.

Design Objectives

Concept

Materials

Conceptual Diagram