I.

INTRODUCTION
THE MUSICS HAVE BEEN A PART OF LIFE FROM THE VERY BEGINNING. THEY HAVE
DEFINED, DESCRIBED, AND DEEPENED THE HUMAN EXPERIENCE AND HAVE BEEN
AN INSEPARABLE PART OF THE HUMAN JOURNEY. ALL PEOPLE HAVE AN ABIDING
NEED FOR MEANING TO CONNECT TIME AND SPACE, EXPERIENCE AND EVENT,
BODY AND SPIRIT, INTELLECT AND EMOTION. MUSIC IS CREATED TO MAKE THESE
CONNECTIONS TO EXPRESS THE INEXPRESSIBLE AND TO CONNECT EACH NEW
GENERATION TO THOSE THAT HAS GONE BEFORE.
THIS PROPOSED PALAWAN STATE UNIVERSITY COLLEGE OF MUSIC COMPOSES OF
GROUP OF BUILDINGS NOT MORE THAN TWO STOREYS HIGH. THE SITE IS THE 200
METER X 10 METER VACANT AREA BESIDE THE GYMNASIUM OF THE UNIVERSITY.
THIS PROJECT SERVES AS A MEMORIAL IN HONOR OF THE DEPARTED FOREMOST
MUSICIANS AND COMPOSERS. THE DESIGN IS SIMPLE BUT MONUMENTAL
CONSERVATIVE.
II. SCOPE OF THE PROJECT AND OVERVIEW
EACH STUDENT, REGARDLESS OF BACKGROUND, TALENT, OR DISABILITIES,
DESERVES ACCESS TO THE RICH EDUCATION AND UNDERSTANDING THAT THE
MUSICS PROVIDE AND BE INSPIRED BY GREAT MUSICIANS AND COMPOSERS.
THE PROJECT AIMS TO SERVES AS A MEMORIAL IN HONOR OF THE DEPARTED
FOREMOST MUSICIANS AND COMPOSERS, SIMPLE BUT MONUMENTAL
CONSERVATIVE AND SHALL BE ADE!UATELY CHARACTERI"ING THE INTENDED
PURPOSE.
III. HISTORICAL BACKGROUND
IV. PROBLEM DEFINITIONS
MEMORIAL# MONUMENTAL IN ARCHITECTURE
SERVING TO PRESERVE REMEMBRANCE$ COMMEMORATIVE% ARCHITECTURE
INTENDED TO PRESERVE THE MEMORY OF A PARTICULAR SUBJECT
SOUND MANAGEMENT
THE MOST IMPORTANT COMMON DESIGN ASPECT FOR MUSIC EDUCATION FACILITIES
IS SOUND MANAGEMENT.
PRIMARY CONSIDERATIONS ARE%
SOUND ISOLATION SOUND IS CONFINED WITHIN DESIRED SPACES AND NOT
ALLOWED TO
INTERFERE WITH INSTRUCTION IN OTHER AREAS.
ACOUSTICAL DESIGN PROVISION IS MADE FOR THE !UALITY AND CONTROL OF
SOUND.
SOUND ISOLATION
GOOD SOUND ISOLATION IS A RESULT OF EFFECTIVELY BLOCKING THE
TRANSMISSION OF SOUND FROM ONE ROOM TO ANOTHER. IT IS ONE OF THE
SUREST AND MOST COST&EFFICIENT METHODS OF MAXIMI"ING THE INVESTMENT IN
AN ARTS EDUCATION FACILITY. THE FOLLOWING BASIC PRINCIPLES SHOULD BE
ADHERED TO.
1. USE FULL&HEIGHT, SOUND INSULATING WALLS WITH AIRTIGHT SEALS TO THE
BUILDING STRUCTURE AT BOTH FLOOR
AND ROOF DECKING.
2. KEEP DOORS AND WINDOWS TO A MINIMUM TO REDUCE SOUND LEAKAGE.
'. SPECIFY DOORS AND WINDOWS WITH ACOUSTICAL RATINGS E!UAL TO THE
WALL CONSTRUCTION.
(. BUFFER "ONES, SUCH AS CORRIDORS AND STORAGE ROOMS, ARE BETTER
SOUND ISOLATORS THAN SINGLE WALLS.
. WALL SEAMS ARE A COMMON SOURCE OF SOUND LEAKAGE. SEALED
CONSTRUCTION SHOULD BE SPECIFIED.
). WALL SEAMS SHOULD BE CHECKED AT ROOF DECK, FLOOR, ELECTRICAL
OUTLETS, AND VENTILATION DUCTS.
*. SPACES THAT ALLOW AIR TO MOVE FROM ROOM TO ROOM ALSO ALLOW
SOUND TO MOVE FROM ROOM TO ROOM. AN ENTIRE SOUND&ISOLATED WALL
CAN BE RENDERED INEFFECTIVE BY SOMETHING AS SEEMINGLY
INSIGNIFICANT AS A ROOM&TO&ROOM ELECTRICAL BOX OR A GAP AS SMALL
AS ONE S!UARE INCH.
+. VENTILATION SYSTEMS OFTEN SERVE TO TRANSFER SOUND BETWEEN
ROOMS. THE MOST EFFECTIVE SOLUTION IS TO ROUTE ACOUSTICALLY LINED
TAKE&OFF BRANCHES INTO EACH ROOM FROM A SUPPLY SOURCE PLACED
OUTSIDE THE ROOMS.
,. CLASSROOMS FOR THE ARTS ARE PHYSICALLY ACTIVE ENVIRONMENTS THAT
RE!UIRE AN AIR EXCHANGE RATE GREATER THAN THAT OF MOST OTHER
CLASSROOMS. LARGER DUCTS AND VENTS WITH LARGER GRILLS SHOULD BE
EMPLOYED TO REDUCE NOISE CAUSED BY INCREASED AIR VOLUME AND
VELOCITY.
10.MECHANICAL SYSTEMS OFTEN PRODUCE A VARIETY OF NOISES THAT
INTERFERE WITH INSTRUCTION IN THE ARTS. FACILITIES PLANS SHOULD
INCLUDE SPECIFIC PROCEDURES TO MINIMI"E THIS INTERFERENCE.
11.MECHANICAL E!UIPMENT CAN CAUSE VIBRATION AND SHOULD NOT BE
DIRECTLY CONNECTED TO THE ARTS SUITE STRUCTURE. IT IS IMPERATIVE
THAT THE HVAC CONTRACTOR PROVIDE LOW&VIBRATION ALTERNATIVES.
ACOUSTICAL DESIGN
EFFECTIVE ACOUSTICAL DESIGN FOR FACILITIES FOR THE ARTS RE!UIRES
ATTENTION TO TWO PRIMARY
CONSIDERATIONS% 1- ROOM AND WALL SHAPE AND CUBIC VOLUME$ AND 2-
ACOUSTICAL FINISHES ON FLOORS, WALLS, AND CEILINGS. THE FOLLOWING
CONCEPTS SHOULD BE CONSIDERED.
ROOM AND WALL SHAPE
1. UNTREATED PARALLEL WALLS CAUSE FLUTTER ECHO. THIS ANNOYING
RINGING OR BU""ING SOUND CAN BE CORRECTED WITH ACOUSTICAL
TREATMENTS THAT DIFFUSE AND ABSORB SOUND. NON&PARALLEL AND
SPLAYED WALLS CAN REDUCE FLUTTER ECHO, BUT THESE SOLUTIONS COST
SIGNIFICANTLY MORE PER S!UARE FOOT THAN ACOUSTICAL TREATMENTS.
THE MONEY SAVED CAN BE MORE EFFECTIVELY USED FOR INCREASING
VOLUME, IMPROVING SOUNDISOLATION, OR INSTALLING BETTER HVAC
SYSTEMS.
2. AVOID VISUAL ACOUSTICS. THESE ARE DESIGN FEATURES, SUCH AS CURVED
WALLS AND DOMES, THAT LOOKATTRACTIVE AND APPEAR TO HAVE GOOD
ACOUSTICAL PROPERTIES BUT ARE, IN REALITY, DETRIMENTAL TO
THEACOUSTIC ENVIRONMENT.
'. PARALLEL WALLS IN S!UARE OR CUBE&SHAPED ROOMS CREATE ADDITIVE
WAVE LENGTHS, CALLED STANDINGWAVES, THAT OVER&EMPHASI"E CERTAIN
FRE!UENCIES AND MAKE THEM ABNORMALLY LOUD. CREATING
ARECTANGULAR ROOM BY VARYING ONE DIMENSION '0 PERCENT OR MORE IS
A TYPICAL SOLUTION.
CUBIC VOLUME
1. REDUCING CUBIC VOLUME CAN MAKE A ROOM UNRESPONSIVE AND
EXCESSIVELY LOUD, WHICH MAY BEIMPOSSIBLE TO TOTALLY CORRECT.
FLOOR FINISHES
1. CARPETING ABSORBS HIGH FRE!UENCY SOUNDS. IF CARPET MUST BE USED,
SELECT THIN INDUSTRIAL CARPETTHAT IS NEARLY ACOUSTICALLY
TRANSPARENT.
2. WOOD OR OTHER HARD&FINISH FLOORS ARE PREFERABLE FOR FLEXIBILITY,
DURABILITY, AND EASE OFMAINTENANCE.
WALL FINISHES
1. WALLS MUST BE TREATED WITH AN EFFECTIVE COMBINATION OF ABSORBER
AND DIFFUSER PANELS.
CEILING FINISHES
1. CEILINGS ARE THE LARGEST UNENCUMBERED S!UARE FOOTAGES AVAILABLE
FOR ACOUSTICAL TREATMENT. IT ISIMPORTANT TO SPECIFY ABSORPTIVE
FIBERGLASS, WHICH IS OFTEN IDENTICAL IN APPEARANCE TO MINERAL
BOARD.
V. BEHAVIORAL STUDIES
THE BUILDING FORM AND MEANING IS ROOTED IN HUMAN NATURE
THE MUSIC SUITE IS A CENTER OF ACTIVITY, AND FLOOR PLAN MUST PROMOTE
EASY MOVEMENT IN AND OUT AT ALL TIMES.
. LARGE NUMBERS OF STUDENTS ENTER AND EXIT TOGETHER WITHIN MINUTES$
GOOD TRAFFIC FLOW MUST PROVIDE NATURAL ROUTES AND ADE!UATE SPACE FOR
THESE GROUPS.
. THE START OF CLASS CAN BE FREN"IED, AS STUDENTS FIND THEIR MUSIC, GET
THEIR INSTRUMENTS FROM STORAGE, AND TAKE THEIR SEATS FOR REHEARSAL /
ALL IN A FOUR&MINUTE WINDOW.
. THE TIME WINDOW AT THE END OF CLASS IS JUST AS SMALL, AS STUDENTS RUSH
TO PUT AWAY
INSTRUMENTS AND MUSIC, GATHER THEIR BOOKS, AND GET READY FOR THEIR
NEXT CLASS.
. SMALL GROUPS OFTEN MOVE FROM LARGE REHEARSAL AREAS TO SMALLER
PRACTICE ROOMS IN THE SAME PERIOD.
. MANY INDIVIDUALS USE THE SUITE THROUGHOUT THE DAY FOR PRIVATE LESSONS
AND STUDY.
. E!UIPMENT AND INSTRUMENTS ARE CONSTANTLY MOVED FROM ONE PART OF THE
SUITE TO ANOTHER.
. MANY ACTIVITIES ARE GOING ON AT ONCE IN THE MUSIC SUITE, AND TRAFFIC
SHOULD BE DESIGNED SO THAT THE FLOW DOESN0T DISTURB ANY ACTIVITY OR
AREA WITHIN THE SUITE.
. TRAFFIC FLOW SOLUTIONS INCLUDE SEPARATE ENTRY AND EXIT DOORS TO
REDUCE CONGESTION, A DESIGN THAT MOVES TRAFFIC FLOW AWAY FROM
REHEARSAL AREAS TO REDUCE DISTRACTIONS, AND DESIGNING DOORWAYS,
HALLWAYS, CORNERS AND RAMPS SO THEY CAN FACILITATE THE MOVEMENT OF
LARGE E!UIPMENT.
VI. PLANNING CONCEPT
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VII. PROJECT AND DESIGN CONSIDERATIONS
FUNCTIONALITY/
FLOW
THE PURPOSE FOR WHICH A
SPACE, STRUCTURAL ELEMENT,
MATERIAL OR COMPONENT HAS
BEEN DESIGNED$ ITS
PERFORMANCE AS REGARDS THE
WHOLE.
AESTHETICS
PERTAINING TO THE VISUAL
NATURE OF THE BUILDING%
VISUALLY AND SENSUALLY
PLEASING.
SECURITY/
SAFETY
PROTECTIVE MEASURES TAKEN IN
A BUILDING TO PREVENT
UNAUTHORI"ED INTRUSION AND
BURGLARY.
ORIENTATION
THE LOCATION OF A BUILDING ON
ITS SITE AND THE ARRANGEMENT
OF SPACES THEREIN SO AS TO
TAKE INTO ACCOUNT THE
DIRECTION OF SUN AND
PREVAILING WINDS, VIEWS AND
DISTURBING FACTORS.
ENVIRONMENT
ALL PHYSICAL, SOCIAL AND
DWELLING CONDITIONS FOR A
PARTICULAR AREA OF HABITATION$
THAT PART OF THE
SURROUNDINGS RELATING TO
BUILDINGS, STRUCTURES AND
CIVIL ENGINEERING WORKS
ACCESSIBILITY
INTERNAL AND EXTERNAL
CIRCULATION SPACE LEADING TO
THE BUILDING$ MEASURE OF HOW
EASILY AND BY WHICH MODE OF
TRANSPORT A PARTICULAR AREA
CAN BE REACHED.
MEASURES TAKEN IN THE DESIGN
OF DEVICES, APPLIANCES OR
ENERGY
EFFICIENT
SYSTEMS TO REDUCE THE AMOUNT
OF ENERGY CONSUME.
LOCATION
SHOWING HOW OR WHERE A SITE,
BUILDING OR PART OF A BUILDING
IS SITUATED WITH RESPECT TO ITS
SURROUNDINGS.
TRAFFIC FLOW
SYSTEMS AND PROCESSES
RELATING TO THE MASS
MOVEMENT, CIRCULATION AND
CONVEYANCE OF PEOPLE.
VIII. AREA DESCRIPTIONS, APPROACHES AND TREATMENT
AND AREA JUSTIFICATION
MUSIC ROOMS
SPECIAL NEEDS%
1. THE PHYSICAL NATURE OF MUSIC ACTIVITIES SHOULD BE CONSIDERED WHEN
CALCULATING THE FRESH AIR VENTILATION RATE. A !UIET AIR&HANDLING SYSTEM
SHOULD BE SPECIFIED. TEMPERATURE CONTROL SHOULD BE "ONED, WITH
TEMPERATURES CAPABLE OF BEING MAINTAINED WITHIN A TWO&TO&FOUR&DEGREE
RANGE. CAPABILITY
TO MAINTAIN HUMIDITY AT BETWEEN 0 AND )0 PERCENT SHOULD BE PROVIDED.
THE AREA SHOULD BE WELL VENTILATED, BUT AIR FLOW SHOULD NOT PRODUCE
DRAFTS.
2. THE ROOM SHOULD BE OPEN THROUGHOUT, WITH NO FIXED FURNITURE OR
CASEWORK EXCEPT ALONG THE PERIMETER OUTSIDE CORNERS WITHIN THE ROOM
SHOULD BE ROUNDED OR BULLNOSED.
'. THE ROOM SHOULD BE WELL LIGHTED, WITHIN A 0&* FOOT&CANDLE RANGE
THROUGHOUT. FLUORESCENT SYSTEMS SHOULD HAVE REMOTE BALLASTS OR TYPE
A !UIET RECESSED BALLASTS.
(. PROVISION SHOULD BE MADE FOR DARKENING THE ROOM FOR USE OF
AUDIOVISUALS.
. THE FACILITY SHOULD PROVIDE APPROPRIATE ACOUSTICAL PROPERTIES AND A
!UIET ENVIRONMENT.
). ELECTRICAL OUTLETS SHOULD BE LOCATED ON PERIMETER WALLS.
*. CONVENIENT ACCESS TO A WATER FOUNTAIN SHOULD BE PROVIDED.
+. RUNNING WATER AND A SINK FOR INSTRUMENT CLEANING ARE DESIRABLE.
CHORAL MUSIC
SPECIAL NEEDS%
1. THE PHYSICAL NATURE OF CHORAL MUSIC ACTIVITIES SHOULD BE CONSIDERED
WHEN CALCULATING THE FRESH AIR VENTILATION RATE. A !UIET AIR&HANDLING
SYSTEM SHOULD BE SPECIFIED. TEMPERATURE CONTROL SHOULD BE "ONED, WITH
TEMPERATURES CAPABLE OF BEING MAINTAINED WITHIN A TWO&TO&FOUR&DEGREE
RANGE. CAPABILITY
TO MAINTAIN HUMIDITY AT BETWEEN 0 AND )0 PERCENT SHOULD BE PROVIDED.
THE AREA SHOULD BE WELL
VENTILATED, BUT AIR FLOW SHOULD NOT PRODUCE DRAFTS.
2. THE ROOM SHOULD BE OPEN THROUGHOUT, WITH NO FIXED FURNITURE OR
CASEWORK EXCEPT ALONG THE PERIMETER. OUTSIDE WALL CORNERS SHOULD BE
ROUNDED OR BULLNOSED.
'. THE ROOM SHOULD BE WELL LIGHTED, WITHIN A 0&* FOOT&CANDLE RANGE
THROUGHOUT. FLUORESCENT
SYSTEMS SHOULD HAVE REMOTE BALLASTS OR TYPE A !UIET RECESSED BALLASTS
(. PROVISION SHOULD BE MADE FOR DARKENING THE ROOM FOR USE OF
AUDIOVISUALS.
. RUNNING WATER SHOULD BE AVAILABLE.
). ELECTRICAL OUTLETS SHOULD BE LOCATED ON PERIMETER WALLS.
*. THE FACILITY SHOULD BE TREATED WITH ABSORBER AND DIFFUSER PANELS TO
PROVIDE APPROPRIATE ACOUSTICAL
PROPERTIES AND A !UIET ENVIRONMENT, AND IT SHOULD BE ISOLATED FROM THE
REMAINDER OF THE SCHOOL.
+. THE FLOOR SHOULD BE FLAT. PERMANENT RISERS SHOULD NOT BE CONSIDERED.
,. A DOUBLE SET OF ENTRY DOORS ENCLOSING AN ENTRY FOYER IS DESIRABLE FOR
SOUND ISOLATION. WALLS SHOULD
1,
BE NON&PARALLEL OR ACOUSTICALLY TREATED AND THE ROOM SHOULD HAVE A
SOUND TRANSMISSION CLASSIFICATION OF AT LEAST STC0 FOR BOTH INTERIOR
AND EXTERIOR WALLS AND STC( FOR DOORS AND WINDOWS.
10. A WATER COOLER FOR REHYDRATION SHOULD BE READILY ACCESSIBLE, BUT
SHOULD NOT BE LOCATED WHERE
OVERFLOW CAN DAMAGE THE FLOOR OR WHERE COMPRESSOR NOISE WILL BE A
DISTRACTION.
INSTRUMENTAL MUSIC
SPECIAL NEEDS% IN ADDITION TO THOSE SPECIFIED FOR MUSIC ROOM, THE
FOLLOWING ARE RECOMMENDED%
1. THE FLOOR SHOULD BE FLAT. PERMANENT RISERS SHOULD NOT BE CONSIDERED.
2. THE ROOM SHOULD BE ACOUSTICALLY ISOLATED FROM THE REMAINDER OF THE
SCHOOL.
'. A DOUBLE SET OF ENTRY DOORS ENCLOSING AN ENTRY FOYER IS DESIRABLE.
WALLS SHOULD BE NON&PARALLEL OR ACOUSTICALLY TREATED AND THE ROOM
SHOULD HAVE A SOUND TRANSMISSION CLASSIFICATION OF AT LEAST STC0 FOR
BOTH INTERIOR AND EXTERIOR WALLS AND STC( FOR DOORS AND WINDOWS.
(. SPACE SHOULD BE PROVIDED FOR MAINTENANCE AND REPAIR OF INSTRUMENTS.
. AN OVERSI"ED DOOR O(P&0Q MINIMUM WIDTH- SHOULD PROVIDE ACCESS TO A
REAR LOADING DOCK TO FACILITATE MOVEMENT OF LARGE E!UIPMENT TO AND
FROM PERFORMANCE SITES OUTSIDE THE SCHOOL.
). ACCESS TO A DEEP SINK WITH A GOOSE&NECK OR FLEXIBLE SPRAYER FOR
CLEANING BRASS INSTRUMENTS.
ACOUSTICS
GOOD ACOUSTICS IS DEPENDENT UPON THE IDEAL COMBINATION OF ABSORPTION
AND DIFFUSION OF SOUND. EACH
MUSIC ENVIRONMENT SHOULD BE TREATED INDIVIDUALLY, ACCORDING TO ITS
SHAPE, VOLUME, ETC. FOR EXAMPLE,
TREATING SOLELY WITH ABSORBER PANELS WILL ONLY REDUCE LOUDNESS.
DIFFUSER PANELS ARE NEEDED TO SCATTER
SOUND AND IMPROVE COMMUNICATION FROM ONE PART OF A ROOM TO ANOTHER.
TREATED WITH ABSORBER AND DIFFUSER PANELS%
1. THE IDEAL COMBINATION OF ABSORBER AND DIFFUSER PANELS CREATES AN
ACOUSTICALLY BALANCED
ENVIRONMENT.
2. FLUTTER ECHO, REVERBERATION, AND RBOOMYS SOUNDS ARE ELIMINATED.
'. LOUDNESS IS CONTROLLED AND BALANCED OVER THE FULL AUDIBLE RANGE.
(. PERFORMERS CAN HEAR THEMSELVES AND OTHERS.
. INSTRUCTORS HEAR BALANCE WITH ACCURACY.
IX. STRUCTURAL AND ARCHITECTURAL CONCEPTS