ACOUSTICAL SOCIETY OF AMERICA STUDENT DESIGN COMPETITION 2014

Transcription

1 ASA SDC of 7 ACOUSTICAL SOCIETY OF AMERICA STUDENT DESIGN COMPETITION 2014 PRESENTED BY: THE TECHNICAL COMMITTEE ON ARCHITECTURAL ACOUSTICS, THE ROBERT BRADFORD NEWMAN STUDENT AWARD FUND, AND THE NATIONAL COUNCIL OF ACOUSTICAL CONSULTANTS Announcement The Technical Committee on Architectural Acoustics with support from the Robert Bradford Newman Student Award Fund ( the Wenger Foundation, and the National Council of Acoustical Consultants ( is sponsoring a student design competition to be displayed and judged at the 167th meeting of the Acoustical Society of America in Providence, Rhode Island, the week of May 5, The 2014 design competition involves the design of a secondary school/high school Fine Arts building with diverse programming. Refer to the Design Scenario below for detailed program requirements. Entry Requirements and Restrictions Entries may be submitted by teams consisting of one (1) to three (3) students. Undergraduate and graduate students are encouraged to participate. Teams comprised of students from different institutions are welcome. Teams comprised of students from different disciplines are encouraged. A faculty sponsor is required. Meeting attendance is not required to participate in the competition. Each participating school shall be limited to three (3) entries consisting of participants within the same school or consisting of participants from multiple schools. Two (2) additional collaborative entries consisting of participants from multiple schools are allowed. Students may participate as a member of no more than one entry. Registration Teams must register by April 1, 2014, by to Norm Philipp (nphilipp@pittstate.edu). In the , indicate your name, your school, the name of your teammates (if any) and their school(s) (if different from your school), the name of your faculty advisor and his or her school, and indicate the student participant who will serve as primary contact for the team. Provide e- mail addresses for all participants and advisors. The primary contact will serve as a vital link for

2 ASA SDC of 7 receiving information and updates on the competition. This may include answers to frequently asked questions and changes to information presented in this bulletin. All teams from all institutions should register. For institutions registering more teams than the entry limits: faculty advisors must send a final list of entries by Friday, April 25, Presentation Format Entries shall be poster presentations. Entries shall be presented on up to three (3) separate display boards with maximum dimensions of 22 x 28 inches (56 x 71 cm) per board. In addition to the poster submission, a digital version of each entry shall be ed to Norm Philipp. Digital file format must be.pdf or.jpeg. The competition language is English. The font size, amount of narrative text, and number of graphs should be appropriate for poster viewing. A thoughtful viewing of the presentation should be possible in 4 to 6 minutes. Additional design details, calculations or other documentation may not be attached to the boards. The judges will not review such information. Presentation boards should be suitable for wall or easel display. Means of attachment to the wall or easel will be provided by the competition (submissions need not include Velcro or pins). Please denote the orientation and arrangement for the presentation boards either on the rear of the boards or on an included sheet. Posters mounted to rigid backers (such as foam core) tend to display well and is suggested. Submission Procedure For entry in the competition, presentation boards must be received no later than Wednesday, April 30, 2014 at the following address: Acentech, c/o Carl Rosenberg 33 Moulton Street Cambridge, MA Students attending the meeting may hand-deliver their entries. Entries delivered by students must be delivered to the ASA registration desk at the meeting hotel no later than 8:30 am on Tuesday, May 6, Students opting to deliver entries to the meeting are required to send an notification to any of the competition co-chairs by Wednesday, April 30, Affix an opaque envelope to the back of EACH display board. Within each envelope, enclose a loose sheet with the names, addresses, phone numbers, addresses, school affiliations, and advisor of all participating team members. Please indicate summer and mailing addresses for all team members. Team member identifying information (names, addresses, etc.) will not be revealed to the competition judges. Please package display boards securely to prevent damage during shipping. Technical Requirements Design competition entries should emphasize the general building acoustics design (room acoustics, noise control, and acoustic isolation). The Auditorium, Band Rehearsal Room, and Choir Rehearsal Room are of primary importance. The Black Box Classroom Acoustics should be outlined, but are not of primary focus for this design challenge. Other programmed building

3 ASA SDC of 7 spaces must be included in the overall design, and they may be similarly considered at the discretion of each team in the interest of design completeness. Presentations may include plan and section drawings, renderings, acoustical calculations, acoustical criteria, and details of construction relating to acoustics and noise control as necessary to describe and support the design. If computer programs are used in the design, graphics and data from the programs may be displayed. Electroacoustic system (sound reinforcement system) design is outside of the competition scope and is not required. However, geometrical considerations (space and sight-lines) for loudspeakers and an in-house mix location should be provided. Electro acoustic enhancement systems are not to be considered as a solution for achieving variable acoustics. It is not necessary to indicate special stage facilities such as stage rigging, theatrical lighting, stage drapes, etc. However, space for these facilities should be included. While the design of the building mechanical and electrical systems is very important to the acoustical success of a project, it is not necessary to indicate the details of the mechanical and electrical system noise control. However, teams may wish to indicate noise criteria, along with general noise and vibration control procedures relating to air handling, electrical transformers, theatrical lighting dimmers, etc. References Some useful design references include: ANSI/ASA S /Part 1 American National Standard Acoustical Performance Criteria, Design Requirements, and Guidelines for Schools, Part 1: Permanent Schools, available free online: Acoustics of Auditoriums in Public Buildings, Leonid Makrinento and John Bradley, Eds., Acoustical Society of America Halls for Music Performance: Two Decades of Experience, , Acoustical Society of America Halls for Music Performance: Another Two Decades of Experience, , Acoustical Society of America Acoustical Design Of Music Education Facilities, Edward R. McCue and Richard H. Talaske, Eds., Acoustical Society of America Theatres For Drama Performance: Recent Experience In Acoustical Design, Richard H. Talaske and Richard E. Boner, Eds., Acoustical Society of America (1987) Acoustical Design Of Theatres For Drama Performance: , David T. Bradley, Erica E. Ryherd, and Michelle C. Vigeant, Eds., Acoustical Society of America Performing Arts Spaces, Paul Scarbrough and Robert Campbell, Time-Saver Standards for Building Types

4 ASA SDC of 7 Design Scenario A high school of moderate size with a robust performing arts program intends to construct a Fine Arts building. The building will include three rehearsal spaces for concert band/marching band (120), choir (50), and percussion (typical for marching band). Orchestra and jazz band will share the rehearsal space for concert band/marching band. The band room will have six practice rooms, to be shared between band and orchestra. The drama classroom will function as a small black box theater. To reiterate, the Auditorium, Band Rehearsal Room, and Choir Rehearsal Room are of primary importance. The Black Box Classroom Acoustics should be addressed, but are not of primary focus for this design challenge. Instrument, prop/costume and marching band uniform storage must be considered, as well as loading, functionality and flow for the stage and marching band activities. The auditorium will be utilized for assemblies, concert band, jazz band, orchestra, choir, and drama. All isolation requirements outlined in ANSI S12.60 should be met, at a minimum. Following is the architectural program statement for the fine arts wing which defines the building desired by the high school. Auditorium (Consider this room a design priority.) Seating: 880 seats on a rake or with a single balcony. Stage: Approximately 3,850 ft 2 (357.7 m 2 ) with depth of approximately 35 ft (10.7 m) (from proscenium wall to upstage wall) including side stage wings for rigging control, storage, and preparation. This area does not include the pit in its highest raised position (level with the stage floor). Proscenium: 24 ft (7.3 m) high, minimum, by 50 ft (15.2 m) wide, minimum. Stage house: Fully rigged with conventional counterweight rigging system and with stage to gridiron height of 2.5 to 3.0 times the proscenium height. Orchestra Pit: To accommodate an orchestra of approximately 20 musicians (approximately 500 ft 2 (46.5 m 2 )). A pit filler will be used to increase the forestage size when the pit is not used. The pit filler/pit opening shall not be included in the stage floor area. Pit acoustics should be considered to allow for adequate sound projection from the pit to the audience seating area. Variable acoustics may also be considered to allow for different musical styles. Variable Acoustics: The auditorium is to be used for a variety of programs. As a result, a portable stage enclosure (shell) is required. 200 ft 2 (18.6 m 2 ) of upstage storage space is required for shell tower storage. Given the multipurpose nature of the auditorium, variable acoustics for the hall are desirable. Lobby, restrooms, concession: 4,400 ft 2 (409 m 2 ). Band Rehearsal Suite Band Rehearsal Room (Consider this room a design priority.): 3,500 ft 2 (325.2 m 2 ), which includes 250 ft 2 (23.2 m 2 ) along the perimeter reserved for instrument storage cabinets. Consider the storage cabinets in the Room Acoustics design. A mezzanine level is required by the band instructors for increased vision and audition of instruments. This mezzanine should be along an appropriate wall and should be at least 9 ft (2.7 m) deep. In addition to the 3,500 ft 2 rehearsal room, provide 130 ft 2 (12.1 m 2 ) for a band director s office. The band room should

5 ASA SDC of 7 have easy access to 750 ft 2 (69.7 m 2 ) of shared, closed storage. The storage is to be shared between the band and choir rooms. Variable acoustics are encouraged, given the shared nature of the room. The band room should have relatively easy access to the auditorium stage. Small Band Rehearsal Room (Percussion) (Consider the design of this room, but it is not of primary importance.): 1,300 ft 2 (120.8 m 2 ), with 75 ft 2 (7.0 m 2 ) along the perimeter reserved for instrument storage cabinets. In addition, provide 130 ft 2 (12.1 m 2 ) for a band director s office. The percussion room and band room should have easy access to one another. The percussion room must have direct access to the loading dock. Uniform Storage: provide 575 ft 2 (53.4 m 2 ) of band uniform storage, easily accessible from the loading dock and the large band room. Practice Rooms (Consider the design of this room, but it is not of primary importance.): six rooms each at 80 ft 2 (7.4 m 2 ). Choir Rehearsal Suite Choir Room (Consider this room a design priority.): 1,800 ft 2 (167.2 m 2 ). Provide access to 750 ft 2 (69.7 m 2 ) of shared, closed storage (shared with the large band room). Provide an additional 120 ft 2 (11.1 m 2 ) choral office. Provide an additional 130 ft 2 (12.1 m 2 ) storage room, dedicated to the choir room. The choir room should have relatively easy access to the auditorium stage. Practice Rooms: (Consider the design of this room, but it is not of primary importance.): three rooms each at 60 ft 2 (5.6 m 2 ). Black Box Classroom/Scene Shop Scene Shop/Set Storage: The scene shop area of the room shall consist of approximately 1,000 ft 2 (92.9 m 2 ) with easy access to the stage and truck loading dock. The door(s) for scenery entrance and exit shall have dimensions of approximately 12 ft (3.7 m) wide and 18 ft (5.5 m) high. It is anticipated that the Scene Shop will be in use during rehearsals in the Auditorium and occasionally during performances or other uses. The Black Box area of the room shall consist of 2,000 ft 2 (185.8 m 2 ) with easy access to the Auditorium stage. (Consider the design of this room, but it is not of primary importance.) Provide a 1,000 ft 2 (92.9 m 2 ) mezzanine level, for storage and dramatic uses serving this space. Drama Dressing Rooms: Two 400 ft 2 (37.2 m 2 ) dressing rooms with a toilet (one each for men and women). The dressing rooms should have relatively easy to access to the black box and to the auditorium stage. Drama Office: provide a 130 ft 2 (12.1 m 2 ) office, attached directly to the black box. Other Rooms Restrooms: Provide 440 ft 2 (40.9 m 2 ) for public restrooms, serving all back-of-house Fine Arts rooms. Mechanical Room: Provide a 1,000 ft 2 (92.9 m 2 ) room for heating, ventilating, and airconditioning equipment.

6 ASA SDC of 7 Electrical Room: Provide a 200 ft 2 (18.6 m 2 ) room for electrical equipment. Parking Parking will be provided adjacent to the building. Parking lot design is not required, and will not impact judging. Building Site The site for the arts building is flat, and it is located approximately 1,200 ft (366 m) from the dead end of Sisk Avenue in Oxford, Mississippi, in the United States (34 22'27.96"N and 89 29'17.13"W). A four-lane state highway is due west 3,400 ft (1040 m). Judging and Awards The submitted designs will be judged by a panel of practicing design professionals. The panel will include acoustics consultants and architects. Entries will be evaluated on technical merit, design vision, adherence to the design scenario and program requirements, and effectiveness of presentation. An award of $1,250 will be made to the individual or team whose entry is chosen as First Honors. Commendation awards of $700 will be made to four other outstanding entries. Awards are made possible through a grant from the Wenger Foundation and by the Newman Student Award Fund.

7 ASA SDC of 7 Requests for Information Please direct questions to any of the co-chairs via . Note that general questions about the design scenario or competition will include a reply to all registered teams. Competition Timeline Summary A summary of the competition timeline is presented below, for convenience. December 2013: Release of announcement and design scenario April 1, 2014: Registration Deadline Friday, April 25, 2014: Deadline for Faculty Advisor(s) to submit final list of entries (only applies to institutions whose registrations exceed the entry limits) Wednesday, April 30, 2014: Poster Receipt Deadline; Notification of Personal Delivery Deadline Monday, May 5, 2014: Begin 167th Meeting of the ASA in Providence, Rhode Island Tuesday, May 6, 2014, 8:30 a.m.: Personal Delivery Entry Receipt Deadline Student Design Competition Co-Chairs Dave Woolworth Oxford Acoustics, Inc. p: m: dave@oxfordacoustics.com Norm Philipp Pittsburg State University p: m: f: nphilipp@pittstate.edu Andy Miller BAi, LLC p: x237 m: f: amiller@baiaustin.com