Recital Hall - Andrew Smith 2022 Thesis

THESIS PORTFOLIO

Andrew Smith

2022

Tables of Contents 7

Prologue - Final Executive Summary Part I - Project Visioning

11

Site Analysis

13

SWOC Analysis

15

Design Framework

17

Design Framework Part II - Concept Development

21

Concept Development

25

Concept Presentation I

29

Concept Presentation II

31

Schematic Design Part III - Design Development

39

Recital Hall

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Epilogue

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Works Cited

Abstract Statement EXECUTIVE SUMMARY The thesis of this project is a recital hall as an addition to McCain Auditorium that directly contrasts by creating an intimate experience for performance and viewer.

This design contrasts the existing auditorium to show the importance of both performance spaces. The new recital hall will be intimate and extroverted in contrast to McCain’s vastness and introversion. The linking of these two performances halls creates metaphorical solidarity between the arts and the different size performances that happen with the McCain Performance Series and the performances put on by the K-State School of Music, Theater, and Dance. This also allows for a built connection that allows users to navigate through both performance halls.

The new addition looks to expand upon the diagram of McCain and allow ease of use for any user. In the instance of the performer, the back of house spaces will continue into the new recital hall allowing for props, scenes, and instruments to move easily between spaces. This expansion of the diagram continues the egalitarian strategies of McCain and the K-State School of Music, Theater, and Dance. The ability to show that these performances spaces do not belong to one entity but are in service to the arts allows the recital hall to cater to the McCain performance series and the events happening within the School of Music, Theater, and Dance. In the instance of the patron attending a show, the entrance will be placed together to emphasize the connection of the events.

Along with the exterior entries, internal connections link the axis of circulation existing in McCain to the new recital hall.

Expanding the existing diagram of circulation allows the 6

patrons grace when understanding the new addition. Within the negative space of the new addition of McCain will be a plaza space that will be used for prior and post-show events for either venue. The plaza could also hold small concerts or performances. The addition will have a bar area for preshow drinks. This will allow for a more imitate experience within the complex as patrons will be able to mingle with other showgoers and find a mutual appreciation for the event.

McCain remains untouched except for the circulation connections made to the new addition. These connections will link the two lobby spaces linking McCain’s lobby to the lobby of the addition. The facade of the recital hall will be an extroverted display of how music is made. The recital hall will mimic a string instrument and show itself as an instrument through wood materiality and organic curves such as the bouts and waists of a string instrument. The recital hall will format as a large seating area containing around 350 seats on the main floor along with another 150 contained within the mezzanine.

This will create a space that can easily be shut off for more intimate performances. This recital will attach itself to McCain and show its personality through an extroverted display of glazing and the introduction of a contrasting material. This atrium space will contain front of house accommodations such as a new box office for the smaller recital hall, refreshment center, coat check, and bathrooms. The entry sequence into the recital hall will extend McCain’s new plaza spaces and optimize them for social events in which patrons can gather before or after a show for events in a durable, multi-function space. This new addition will create new experiences and will improve the overall experience of the arts district on campus.

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Part I

Project Visioning

Site Analysis KANSAS STATE UNIVERSITY Kansas State University has a rich history that continually evolves its notoriety. The next step in this evolution focuses on the campus appearance in the arts programs. The arts district of campus occupies the Southeast corner. It is the direct connection between student life to the public realm. The art district consists of McCain Auditorium, The Marianna Kistler Beach Museum of Art, Nichols Hall where the Theater Department is housed, Danforth/All Faiths Chapel, and Thompson Hall.

Contextual Map1

One of the desires for this program is the addition of an intimate recital hall that would bridge the gap between McCain’s 1700-person auditorium2 , Mark A. Chapman theater (a black box theater inside Nichols Hall that holds 230 patrons)3, and Danforth/All Faiths Chapel (holds 65 Patrons)4.

This new building will manifest as a recital hall that holds 500 people and can accommodate multiple types of performances.

The number of 500 seats is based on a discussion with both the Director of The College of Music Theater and Dance, 1. “County History Project.”

2.“McCain Auditorium.”

3. “Mark A. Chapman Theatre.”

4.“Danforth and All Faiths Chapels.”

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Dr. Jeffrey Ward, and the Executive Director of McCain Auditorium, Todd Holmberg.

During the interview with Mr. Holmberg described the egalitarian behavior in which McCain acts.

The Manhattan, KS 2035 Comprehensive Plan auditorium itself dichotomizes the building. On either side of the auditorium stand the School of Music Theater and Dance and the McCain Auditorium offices which facilitate the for-profit nature of the music hall.

With this understanding and insight, site analysis could begin. The first step is navigating the existing buildings and reconciling the location of a new building within the context of the existing arts district on campus. The initial prompt was to reconfigure Thompson Hall, the current geology building, to house a recital hall or create a new construction to take Thompson Hall’s place. The viability of creating an adjacent building nested closely within the arts district would be tested within this context.

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A2 Business Lot

K-State Parking Structure

A1A Beach Thompson Hall Museum

A1 Beach Museum

Anderson Village (Private Lot)

5. “2025 Campus Master Plan.”

Aggieville (Public Lot)

Parking Locations5

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SWOC Analysis KANSAS STATE UNIVERSITY The first step in testing this viability was creating a SWOC analysis in which the strengths, weaknesses, opportunities, and constraints were evaluated for the site. The site’s strength is the permeability and opportunities for different circulation types within the arts district. This became a key theme when creating the final concept for this thesis. A weakness addressed was the noise from automobiles traveling along Anderson Avenue.

Contextual Views

The foremost opportunity assessed was the access that both students and the public would have to this location and would show communities coming together. Finally, the challenges a building would face would be finding its niche within an arts community with multiple venues and many different types of performances happening, all within a close radius.

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Strengths

With the site’s proximity to parking Parking and pre & post show entertainment Fine Arts Buildings Aggieville, the student union, and other Pedestrian Circulation points of interest users have many pre and post show opportunities to add to their experience.

Aggieville is a short .2-mile walk (approx 4 minutes) from the site and is Manhattan’s bar and restaurant business district.

The Student Union is a strength because it offers access to JP’s Bar and Grill and the Union parking garage with just a 0.3-mile walk (approx 6 minutes). Additionally, there are several opportunities for parking provided close to the site.

The site is located in the center of the arts buildings: McCain Auditorium, Nichols Hall, and the Beach Museum. Our greatest strength is how our impact can foster an art community.

Manhattan will be a place for artists in the community and farther regions to come together and celebrate the arts.

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Design Framework JOURNEY MAPPING The first step in this design framework was identifying different users that would come in contact with the building or in which the building in its multi-scalar facets would impact a user.

During this exercise, the emphasis on program adjacencies and

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User Journey Ex. 3

program types began to be addressed. The users being described ranged from student performers, community members, K-12 Students, and the community being created or added on to within the campus and the neighboring communities. One of these communities would be Aggieville, a district just Southeast of campus in which bars, restaurants, and retail are the mainstays as lessors. This creates an opportunity for architecture to become larger than what is realized on the site and spread social values that strengthen a community. The spreading of social values and creating community within a building is when Architecture is fully realized on a multi-scalar level.

PROGRAMMING & ADJACENCIES After identifying users and the paths in which they navigate a preliminary list of spaces were created.

With these spaces adjacencies studies were conducted to start to understand the connections between built environment and the users inhabiting these spaces.

Adjacency Study

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Design Framework ARCHITECTURAL PROGRAM An architectural program was made to encompass any use that a recital hall might have. This became a vital tool when creating the final product and navigating the different programs happening within adjacent buildings.

Name

Description

Lobby Student Lounge Ticket Booth Gift Shop Cafe

Reception prior to and following a show Commons space for students to gather Space where tickets for admission are sol Shop to buy souvenirs and small items Small restaurant selling food and drink

Front of House

Performance Recital Hall Black Box Theater Gallery Art Studio Dance Studio

Small performance space intended for a few performances Flexible performance space with black walls and level floors Room to display and view art Place for artists to work and create Space for dancers to learn and rehearse performances

Back of House / Support Practice Rooms Control Room Dressing Room Scene Shop Costume Shop

Space where performers are allowed to rehearse/warm up before performance Switches to sound, lights, curtain screens, and a view out to the hall Dressing space for performers Workshop to fabricate and assemble the flats, platforms, scenery wagons and other scenic (set) pieces required for Workshop to fabricate costumes for performers.

Storage General Storage Film Vault Music Library Instrument Storage

Storage for large items and material refills Climate controlled storage facility for films Library containing any music related materials Climate controlled storage facility for films

Service Restrooms Janitorial Closet Break room MEP Room

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Facilities and space for refreshment Focused for Custodial staff to store equipment Space for rest and refreshment of permanent building staff Holding and access to mechanical, electrical, plumbing systems

Media Production Recording Rooms Sound Stage Screen Writers Room Film Production Screening Room AV Lab

Sound controlled room for digitizing auditory performances A lighting and sound controlled room with backdrops, performance area, crew and equipment area A private room where screen writers and cast gather and develop scripts Space for the actions and recording of performances, accommodating the movement of performer and crew, and the movement of equipment Dark room for small-scale, private viewings of visual media Digital working space for team and individual development and editing of media, educational capacity included

Office Faculty Arts Office Conference Room

Private working space for staff to run building and do outreach Formal meeting space for performers and staff

Exterior Amphitheater Plaza Space

Performance space with built up landscape for audience viewing A gathering space for patrons to collect before and after events

CONCLUSION OF DESIGN FRAMEWORK Concluding the project visioning, one statement was chosen to represent the intent of any future design.

“A place for all community members to gather, share, and connect to cultural experiences through music, art, and performances.”

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Part II

Concept Development

Concept Development BRIDGING A GAP The first decision to be made within concept development is where the building would be located or if the recital hall would manifest itself within the walls of Thompson Hall. The K-State 2025 Masterplan laid out the goals of the campus in which the arts district would continue to grow on the Southeastern corner of campus. However, the goals of the building would be to add more academic classrooms in support of the existing buildings and have less of a focus on musical performances.

Aerial Of Planned Development5

* * ~50,000 Square Feet

* 20

Existing Art Piece or Memorial

5. “2025 Campus Master Plan.”

With this in mind, the idea to stay within the context of the musical performance spaces arose. The space that seemed most in service to this idea would be a renovation or addition to Thompson Hall in which the new space would create a connection to Nichols Hall and McCain, the two most outwardly expressing performance spaces.

With the first pass of concept development, “bridging a gap” as a phrase stuck out within the research. This recital hall would bridge the gap in Manhattan’s art community by providing a venue like nothing else in the community. The phrase morphed into a poetic representation of what the architecture could manifest as. A bridging of two buildings with similar uses would then be able to share programs and create a heart for the arts district in which two buildings are in service of the same goal. This connection manifested as a corridor that would be able to transport performers and patrons from one music hall to the other within the context of McCain auditorium to a newly renovated Thompson Hall.

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H

N BRIDGING A GAP

X

The idea of bridging illuminated the idea of contrast.

At Y this stage in the project, it meant the split between the performance and educational aspects of the arts district. This split would be demarcated by the new recital hall and be a gateway between performance and education. This bifurcating of education J and performance allowed for each building to have its specific uses yet still be in service Z to the arts.

I

Edu c

Per fo

rm

atio n

AA

Performance & Education Dicotomy5

This initial concept would lay the foundation for all design work to come once the project had started. Many of the same ideas illustrated at the beginning of the project were visible and carried throughout the project. These illustrated ideas show that the intention behind these design decisions were backed by substantial evidence before the design even started.

This intention allows architecture to transcend the built environment and seep into the social aspects of a community.

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5. “2025 Campus Master Plan.”

McCain Auditorium

Thompson Hall

The research being done on the project visioning was also accompanied by how humans experience architecture. The thesis for these studies is that “the body is the measure for architecture.” The focus on human experience allows for architecture to be realized through empathy and create a more meaningful, striking, and experiential design. Within this research, a strong focus was orientated around the subject of atmosphere and atmospheric generators. The atmosphere is the seventh sense of the body6. This means that each human can experience architecture in their subjective ways. Depending on how well done the architecture is, the patron can feel empathy towards design elements in which they could be afforded to act a certain way as suggested by the built environment7. The design process started with this in mind, and the intention within this process was crucial to making sure the end product reflected the intentions that were set out to illuminate. Just as with the project visioning, this thesis backs up these ideals committed to before designing.

6. Mallgrave, “Know Thyself...”

7. Griffero, “Architectural Affordances” Do see also: 8. Robinson, S. (2021). Architecture is a Verb (1st ed.)

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Concept Presentation I ARCHITECTURE AS A BRIDGE

Architecture as a bridge. This building is a physical bridge between McCain Auditorium and Nichols Hall. However, it is also a metaphorical bridge that searches to link the styles of the existing buildings while adding a unique look to campus to emphasize the importance of the arts.

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A bridge is a structure carrying a pathway. In this design, the pathway is manifest through the building. This linkage shows these two buildings’ connection to the arts programs and solidarity between the multiple disciplines. Although the building carries out this concept of bridging literally, the more critical definition of a bridge is the definition that pertains to music. A bridge in music is a section of a song that seeks to differentiate itself from the former section as well as tie the former and final sections together. This concept of bridging is manifest through the differing style and placement of the new architecture.

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Concept Presentation I MAIN TAKEAWAYS After the critiques from over twelve practicing architects, a few main takeaways were present and ready to be iterated upon. The first is the placement of the building and the negative space it was creating. There was no focus on how this new building could anchor itself to the campus with site design and landscaping. The ability to create an outdoor environment for students and patrons is the goal of any good civic building. Another main takeaway was the connection being made between McCain and Nichols Hall.

Another critique revolved around the idea of “What are we gaining by attaching onto these two buildings?” In the case of Nichols, the reasoning for connecting the black box theater did not line up with the project’s ethos, as Nichols already acted as its entity with the diverse program it had. A connection to a theater-centric building that did not provide highquality acoustics was less than desirable for a new building focused on all types of performances. Attaching to McCain lent itself to many benefits, but equal the drawbacks would need to be navigated to create a harmonious assemblage.

The biggest critique was, “If the bridge is the most important part, why does it lack the programming to reinforce those ideals?” This critique ultimately was what shifted the focus of the project from “bridging” to “connection.” These words, although similar, carry different poetic qualities as well as physical qualities. Connection made a stronger case for a project that looks to add to the art district’s qualities rather than bridge, which represented a much more domineering force.

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Concept Presentation II ARCHITECTURE AS A BRIDGE The project began to merge and become one with McCain as an addition. At this time, I interviewed Todd Holmberg, the Executive Director of McCain Auditorium. Within this interview, the number of seats was established, and the egalitarian nature of the building was explained. This egalitarian diagram that McCain has established illuminated the back of house corridor in which deliveries and performers would enter. This then sparked the idea of creating an addition to McCain. This addition will then utilize as much of the program already on campus and leverage the internal connection within McCain and attach to the back of house highway. It was within this context that the architecture was beginning to be illuminated. This new addition would become a contrasting feature to McCain and look to set itself apart by pulling away from McCain and creating a plaza experience that both buildings could share. This addition to the architectural diagram only added to the egalitarian nature of the auditorium.

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Schematic Design A CONTRASTING RECITAL HALL

The thesis of this project is to create a new recital hall as an addition to McCain auditorium. This linking of two differing performance spaces will allow emphasis to fall on the uses of each and the empathetic response that each space creates. The addition of a new building onto the southern facade of McCain will allow for new energies to flow through the site and create new public gathering spaces. These gathering spaces will introduce areas to host events before and after performances as well as host more informal performances that will energize the campus.

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A CONTRASTING RECITAL HALL

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Part III

Design Development

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A Recital Hall as an Addition to McCain Auditorium that Directly Contrasts by Creating an Intimate Experience for Performance and Viewer.

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Recital Hall AN INTIMATE EXPERIENCE

The thesis of this project is a recital hall as an addition to McCain Auditorium that directly contrasts by creating an intimate experience for performance and viewer.

This design contrasts the existing auditorium to show the importance of both performance spaces. The new recital hall will be intimate and extroverted in contrast to McCain’s vastness and introversion. The linking of these two performances halls creates metaphorical solidarity between the arts and the different size performances that happen with the McCain Performance Series and the performances put on by the K-State School of Music, Theater, and Dance.

This also allows for a built connection that allows users to navigate through both performance halls. Intimacy happens when the body nonconciously responses to the natural light coming into the spaces. The fenestrations of the building dictates intimate views to nature as well as suggest a speed in which a patron walks through different spaces.

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0

5

15

40

100

The new addition looks to expand upon the diagram of McCain and allow ease of use for any user. In the instance of the performer, the back of house spaces will continue into the new recital hall allowing for props, scenes, and instruments to move easily between spaces. This expansion of the diagram continues the egalitarian strategies of McCain and the K-State School of Music, Theater, and Dance.

39

AN INTIMATE EXPERIENCE The ability to show that these performances spaces do not belong to one entity but are in service to the arts allows the recital hall to cater to the McCain performance series and the events happening within the School of Music, Theater, and Dance. In the instance of the patron attending a show, the entrance will be placed together to emphasize the connection of the events.

Along with the exterior entries, internal connections link the axis of circulation existing in McCain to the new recital hall.

Expanding the existing diagram of circulation allows the patrons grace when understanding the new addition. Within the negative space of the new addition of McCain will be a plaza space that will be used for prior and post-show events for either venue. The plaza could also hold small concerts or performances. The addition will have a bar area for preshow drinks. This will allow for a more imitate experience within the complex as patrons will be able to mingle with other showgoers and find a mutual appreciation for the event.

McCain remains untouched except for the circulation connections made to the new addition. These connections will link the two lobby spaces linking McCain’s lobby to the lobby

40

0

5

15

40

100

of the addition. The facade of the recital hall will be an extroverted display of how music is made. The recital hall will mimic a string instrument and show itself as an instrument through wood materiality and organic curves such as the bouts and waists of a string instrument. The recital hall will format as a large seating area containing around 350 seats on the main floor along with another 150 contained within the mezzanine.

This will create a space that can easily be shut off for more

41

AN INTIMATE EXPERIENCE intimate performances. This recital will attach itself to McCain and show its personality through an extroverted display of glazing and the introduction of a contrasting material. This atrium space will contain front of house accommodations such as a new box office for the smaller recital hall, refreshment center, coat check, and bathrooms. The entry sequence into the recital hall will extend McCain’s new plaza spaces and optimize them for social events in which patrons can gather before or after a show for events in a durable, multi-function space. This new addition will create new experiences and will improve the overall experience of the arts district on campus.

Bar Area - West Interior Elevation

Bar Area - East Interior Elevation 0

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East

West

North

Lobby Interior Elevations 0

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First Level 0

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Second Level

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EPILOGUE The main takeaways for this project and the entire thesis process are that you must set your intentions, or else you will wander aimlessly trying to find the finish line. If the goal is set initially, it is much easier to work towards a finite point rather than wonder when the end will come because, most likely, the project will still fill incomplete even after the design has ceased.

Another takeaway is that the human body is the measure of architecture. Proportions are free, and scaling a room to the correct size is the first win in a long battle. Once a designer can address the built environment’s impact on the human body, they can start designing for humans. The ability to empathize is the ability to design. Understanding the users of a space is to imagine the limitless possibilities they can inhabit a space and then design for that. Great architecture does not stop on the interior. It flows into the landscape and brings people together. Architecture is multi-scalar. The ability to recognize that the architecture is not about the built construction but the energy it imbues is the recognition of atmosphere.

People do not come for the steak. They come for the sizzle.

On this project, I learned that articulation is the key to good design. The more a design can be broken down, the easier it is understood and the more it relates to the body. Articulate. Articulate. Articulate.

The three aspects of an elevation are Gestalt, Fenestration, and Material. How can a designer become a cartoonist and create a memorable impression on a viewer? Gestalt is the top-down view, the sum of all the parts being perceived as one whole.

Fenestration and materiality are ways to articulate. They also dictate the atmosphere within a space by how much natural light they let through, how they filter it, or the views they give out to it.

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WORKS CITED 1

“McCain Auditorium.” Kansas State University. Accessed December 13, 2021. https:// www.k-state.edu/mtd/about/facilities/mccain/.

2

“Mark A. Chapman Theatre.” Kansas State University. Accessed May 9, 2022. https://www.k-state.edu/mtd/about/facilties/chapman-theatre/.

3

4 5

“Danforth and All Faiths Chapels.” Kansas State University. Accessed May 9, 2022. https://www.k-state.edu/ about/history-traditions/memorials/ chapels/#:~:text=Danforth%20Chapel%20seats%2065%20peo ple,%2C%20France%2C%20Germany%20and%20Italy.

“County History Project.” Kansas Historical Society. Accessed May 9, 2022. https://www.kshs.org/kansapedia/county-history-project/15256.

“2012 Campus Master Plan.” Kansas State University.

Accessed December 13, 2021. https://www.k-state. edu/facilties/projects/planning/master_ plans/2025_plan/index.html.

6

Mallgrave, Harry “Know Thyself: Or What Designers Can Learn From The Contemporary Biological Sciences,” Robinson & Pallasmaa, ed.; Mind in Architecture: 9 – 31.

7

Griffero, Tonino“Architectural Affordances: The Atmospheric Authority of Spaces” in Architecture and Atmosphere, edited by Philip: Tidwell Espoo: Tapio Wirkkala–Rut Bryk Foundation (2014): 14-40.

8

Robinson, S. (2021). Architecture is a Verb (1st ed.). Routledge. https://doi. org/10.4324/9781003103004

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