Graduate Thesis Document

Crescendo

Stimulating Culture and Community through Art and Music

[Architectural [May 2016

Thesis | Bradley D. Postian] | Professor Andrew Cohen]

Graduate Thesis Project Roger Williams University, School of Architecture, Art and Historic Preservation Submitted in full of the Requirements for the Master of Architecture Degree May 2016 By Bradley Postian B.S. In Arch 2015 Class of 2016 Stephen White Dean School of Architecture, Art and Historic Preservation

Andrew Cohen Advisor Professor of Architecture

Special Thanks to | Andrew Cohen Hasan Uddin-Khan The faculty and staff at Roger Williams University All of my family and friends who supported me throughout this vigourous process

Abstract | This project will explore how music and art can impact a culture and how people are impacted by the arts. It will look at the use of architecture and what it means to build for the arts. This includes designing for sight and sound and how these elements can enhance the experience of the visitor. The project includes a learning center, museum, art gallery, studio rentals as well as a performance space. All of these will work towards creating a public attraction and placing a focus on public space.

Buffalo was chosen due to its economic status as well as the presence of the arts in the city. The city has been in a constant population decline since the 1970s and despite this, the city’s area has been steadily increasing. This project will aim to create a draw towards the city center, inciting community values in the downtown area. The current presence of the arts in the city is minimal with the largest attractions being the Albright Knox Art Gallery on the outskirts of the city and the Shea’s Buffalo Theatre which is the largest draw in the theatre district. By placing this project in the downtown area, there will not only be a draw for Buffalonians but also for tourism, drawing from the wineries on the finger lakes as well as Niagara Falls.

This project in its essence, will deal with the financial separation that exists between those who can afford to appreciate the arts and those who cannot. This project makes the arts accessible to everyone regardless of social standing. The arts can foster community in a city and the establishment of an arts district will serve to prove this statement.

PART 1 |

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Art

[ahrt] noun plural noun: arts 1. the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

-works produced by human creative skill and imagination.

-creative activity resulting in the production of paintings, drawings, or sculpture.

2. the various branches of creative activity, such as painting, music, literature, and dance. "the visual arts" 3. subjects of study primarily concerned with the processes and products of human creativity and social life, such as languages, literature, and history (as contrasted with scientific or technical subjects). "the belief that the arts and sciences were incompatible" 4. a skill at doing a specified thing, typically one acquired through practice.

From the Oxford Dictionary

C O N T E N T S Table of Contents Introduction Problem Statement Manifesto for the People

Role of the Arts Social and Cultural Impact The Effect of Art and Music Project Statement

Part

1

Part

2

Part

3

Precedent Studies

Parco Della Musica | Rome, Italy | Renzo Piano Workshop The Getty Center | Los Angeles, California | Richard meier and Partners LLP North Carolina Museum of Art | Raleigh, North carolina | Thomas Phifer Partners Oslo Opera House | Oslo, Norway | Snohetta

Part

4

Part

5

Part

6

Part

7

Part

8

Program Analysis Description of Program

Site Identification Site Analysis Zoning & Code Review

Design Process

Sketches

Development

Design Development

Fnal Production Conclusion

List of Figures Bibliography

Part

1

Introduction Problem Statement Manifesto for the People

PART 1 |INTRODUCTION Every piece of architecture has a purpose: to heal, to entertain, to live in, to re-purpose, etc. We spend our lives influencing and being influenced by the surrounding world. People tend not to see this through their everyday lives.

Living and working in pieces of art have desensitized people to the power of architecture. I wish to demonstrate that architecture can affect people and have an effect on the culture of a place.

Figure 1 |

Eka Sharashidze’s series called “Wall People” is a commentary on the link between architecture and people.

The works represent people as they would be shown in an architectural drawing.

I wish to demonstrate that architecture can affect people and have an effect on the culture of a place.

There are many roads to take when it comes to exploring new territory. We tend to cling to familiarity and safety. However, the best adventures are those driven by passion. I grew up with music and theatre and these influenced me and stirred my passion in ways I never could have dreamed possible. From singing, to clarinet, to guitar, to a botched attempt at piano, music has remained part of my life. I had a great amount of exposure to these are forms throughout my early schooling years. Eventually this translated into theatre and stage crew where I built sets for some of the local theatre companies growing up. Set building turned into set designing which would lead me down my path to architecture.

The process of creating tangible art that could be walked in, listened to and experienced influenced me and those around me. I would like to continue exploring in architecture the way I have explored in the arts. Passion is key.

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Music and the arts can have lasting effects on people.

People tend to be affected more by music and the arts because of something that resonates with the person.

It is a goal of mine to better understand why this is and how the use of music and art can be applied to the art of architecture. The art of building is about people and understanding who is using the building and incorporating their needs into the architecture can allow the user to use the building to its fullest potential and feel at home in the space.

Figure 2 |

The K-Bench by Charles Kaisin is designed with the human in mind.

The bench in itself is a work of art and allows itself to be molded and formed to fit people’s needs.

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PART 1 |PROBLEM STATEMENT Arts and culture are pervasive topics throughout major city centers across the world. Cultural hubs like New York and London provide good examples of how integrated the fine arts can become in a city fabric , as seen in the image to the right, and how these elements can shape the mentality of a place.

Exposure to the arts tends to cause people to crave more exposure to these types of pastimes. Typically this is seen among more affluent people. Art museums, symphonies and theatrical productions are not cheap in the USA. The typical person will not spend their hardearned money on a forty-dollar museum ticket for one afternoon. It is because of this financial constraint

Figure 3 |

New York City is one of the world’s major cultural hubs. Areas such as Times Square are prominent locations for street performers, ticket sales as well as street artists.

Museums, concert venues and art galleries are mere blocks away in this type of setting.

that the arts do not have prevalence in our culture.

This is even more evident in school systems where an emphasis is placed on sports funding since that is a more widely accepted form of entertainment.

It would be useful to change this stigma as a way to incorporate the arts into a culture that does not have the financial stability of some of the larger metropolises where the arts have a larger presence.

The intention would be to weave the fine arts into the existing culture of a space. The challenge is to figure out the best way to achieve this. Should the impact be in one complex where people would potentially migrate towards or should the impact be spread through the city and pervade all aspects of life?

Looking at similar types of buildings, the centers were successful in incorporating their respective cities into a complex or hub where people can congregate to appreciate the arts by providing a destination for people to enjoy the arts.

Another question is what types of music and arts should

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be dealt with in this initiative? The opportunity for learning different types of music and art could appeal to a wider range of people who would otherwise be hesitant about being exposed to them. In keeping to the basics of both art and music with the opportunity for expansion into other genres, this will provide a good variety of topics for people willing to learn.

Figure 4 |

The act of teaching the arts to young students is vital to developing a greater appreciation for the arts later in life.

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PART 1 |Manifesto for the People Architecture is first and foremost an art for the people.

Without a person to use the building, architecture loses all meaning. In my short time looking at architecture I have come to realize that people are the root of all decisions and design intentions in architecture.

Architects go out of their way to lift spaces, make a view or divide a room, all to make a space function and to make people happier. It makes perfect sense

Figure 5 |

Personal Rendering.

This represents the underlying ideas that architecture is about people and how they use the space. It is important for the building to be functional and conducive to everyday use.

why this is.

Architects can go on and on about concepts and meanings behind spaces or talk about the playful shadows that run across a wall when the sun hits it just right. It's all well and good to say these things but without people, without human interaction, there would be no point to any of it. Nobody would be there to understand the meaning or to see the light play.

Architecture is of the people, for the people and by the people.

Architecture is of the people, for the people and by the people. People live and work in architecture and in order for a building to be successful, there is a level of intention that a building must have. Buildings are made to serve a purpose and without intention, the building becomes no more than a box with four walls and a roof. Buildings can do so much more than most give them credit for. Buildings can evoke emotions, recall memories, honor the dead and entertain and inspire the living. When designed with a purposeful touch, a building knows what it wants to be.

I am a strong believer in the idea that there is a right form for every project. Whether it takes the architect ten minutes or ten years to find the form is irrelevant.

What is relevant is that the building almost has a mind of its own. It knows what it wants to be and it is the

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architect's responsibility to guide it there. Drawing with intention can be interpreted many ways, however, I always return to the idea of the search for that perfect form, that perfect idea that will carry on with the project and resonate in every part.

With these factors, an architect will be on their way to devising a "good" building. It used to be my belief that the more complex a building, the better it was.

While complex buildings more often than not present the "wow factor" they do not always guarantee a good building, much less a functional one. Lately I have been drawn more towards simple forms and clear programming. Designing became less about the interesting form than about the right form and less about the space than how people would interact with it. Simplicity is key and the complexity is in the details.

It is easy to understand a clear and simple building and it is easy to appreciate a complex detail in a space. Complex buildings have their time and place although simple programming relates more to people.

That seems to be what it always comes down to. It's always about people.

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Part

2

Role of the Arts Social and Cultural Impact The Effect of Art and Music Project Statement

PART 2 |Role of the Arts How the arts affect the individual can be vastly different from person to person. In my experience, the arts have played a significant role in directing my choices as well as my career path, as mentioned prior.

Figure 6 |

Brewster High School PAC, Brewster, NY

Indicated to the right in figures 6-8 are pivotal moments in my life that directed me towards the arts and eventually towards architecture. Music had been a part of my life since I began playing the clarinet in 2003. Since then, I have spent a lot of time rehearsing and performing on stages and in multiple venues for music.

This exposure to the stage eventually let me to work behind the scenes with musicals beginning in 2007.

Building theatrical sets and painting backdrops had an impact on me which led me in the direction of architecture. In 2010 I began designing and constructing my own sets which happened to coincide with the time that I began to become more involved with drawing and painting. These events have impacted me to continue with art and music well beyond that initial exposure.

Figure 7 |

Brewster High School Wind Ensemble participating in a music competition at Virginia Beach

According to studies done, there is a wide range of reasons the arts are important Most notably is a study conducted by the National Endowment for the Arts which analyzed the importance of the arts as well as why they were important to people (News).

As indicated by the information, 73% of people who attend arts functions go for the social aspect however time and costs required to attend are major deterrents for people interested in going.

Most of the people attending are either adults of parents with small children. This may be due to younger generations receiving much of their arts entertainment through electronics. With the use of online access to concerts, art collections, and tutorials for learning how to play instruments or make art there is less of a necessity to go out to experience art. What these online sources lack is the social aspect of attending a concert or a gallery showing.

Figure 8 |

Set for the musical “Avenue Q“ Designed and constructed by Brad Postian

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The social aspect that can be incorporated into architecture may be the drive that brings in a wider range of people, particularly younger adults to arts functions.

Figure 9 |

Study Conducted by the National Endowment for the Arts analyze the impact of arts and cultural industries as well as American participation Buffalo, NY | Fine Arts Center

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PART 2 |Social and Cultural Impact This social aspect is important to the arts. Without physically being in a space with the art, there is a disconnect between the performers and the viewers.

Street artists and street performers are a good example to show how the arts can affect everyday life. Street artists can draw crowds, influence people’s choices and make people think about the choices they make (Gleaton).

A public display of art can lead people to have a greater exposure to art in their everyday lives. Architecture can assist in this by providing a canvas or space for this art to exist (Gleaton). Public art often works with architecture residing in public squares, designated gathering spaces or even on the walls of buildings.

Part of the reason why the connection between the arts and architecture is not entirely clear is due to people not comprehending how the two can influence one another and thereby affect people’s everyday lives.

Buildings can act as art and to an extent can act as music as well. Numerous studies have been done that reflect these qualities, the challenge is figuring out how to incorporate these studies into a building.

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Figure 10 | Musicians make up a large portion of street performers.

Metropolitan cities typically boast performers in popular areas working for tips or merely to have people hear their music. These performers are sometimes organized by cities which creates a more lively public space.

Figure 11 | Performance artists are also common for street performers. Their skills could range from juggling to fire dancing to comedy acts to acrobatics. These types of acts are typically ones that generate a crowd since the visual is necessary to appreciate the work on display.

Figure 12 | Street artists offer a different kind of performance.

Typically slower paced, artists use different media to display their work. Some working in chalk will work for tips and allow their work to become washed off in the rain. Spray paint artists sell their wares and can generate a crowd due to the fast paced nature of the art.

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PART 2 |Happiness Study The idea that the arts make people happy is a subjective comment to make however, George MacKerron has found a way to prove this to be true. In his project called the Mappiness Project, his research concluded that four out of the top six happiest activities were based in the arts (Lord).

Figure 13 |

Listed are the six top happiest activities recorded by the study.

Listed in figure 13, three out of those four happy activities

were

based

in

social

activities.

The

information gathered was from 45,000 users in the UK from an iPhone app over 18 months. During that time, he logged three million data points. The app conducted a brief daily survey which indicates when the highest levels of happiness were felt. The research was done independent of demographic data and was conducted as soon after the activity as possible to ensure people remembered which moment was happiest correctly (Lord).

His research is continuing with some preliminary studies into how different types of theatre productions affect people. As indicated by figure 15, there are slight differences when people are asked to compare musicals to straight plays and contemporary to classic works.

Is there a way architecture can serve to enhance the happiness people feel from the arts?

This work can easily transition to how architecture affects happiness since architecture can be considered an art form as well. This brings up the question of is there a way architecture can serve to enhance the happiness people feel from the arts? This stems back to the idea of people not necessarily knowing how to design for the arts.

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Figure 14 |

The study is based off of people’s happiness which is one of the most subjective things to measure.

Figure 15 |

Shown is a chart indicating new research into the effect of theatre productions.

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PART 2 |Impact Study One aspect of building that is commonly thought about is sound and how it is used. Most buildings will be designed to keep sound out. The noise from highways and the streets are not something that designers or owners want to penetrate the building.

Julian Treasure goes further into this idea with his TED talk on the four ways that sound affects humans.

Treasure is the chair of Sound Agency which is a firm that advises businesses worldwide on how to use

Figure 16 |

Julian Treasure is a sound expert who gave a TED talk about designing for our ears.

sound (TED Talk).

In his talk, he goes into how sound affects people’s actions as well as their emotions, lining up with the happiness study looked at prior. He talks about the environment that people are in and how different sounds can affect how people see a space and react when in the space. His idea is that music is power because the act of hearing a familiar sound can cause a reaction (TED Talk). Designers need to start implementing these ideas into buildings in order to better perceive how the user will live and work in these spaces.

By using Treasure’s SoundFlow method, it is possible to design spaces to exhibit one of his four aspects of human response. This can lead towards greater productivity in students and workers as well as a greater appreciation in those visiting the center.

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Figure 17 |

Julian’s four aspects that sound affects.

Figure 18 |

A diagram explaining SoundFlow which tracks how sound has an impact on our everyday lives.

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PART 2 |Music in Architecture Based off of Julian Treasure’s TED talk, it is clear that it is necessary to design for all of the senses. In incorporating this mentality, it opens up new ways to experience a building and affect our lives. Architects attempt to deal with sound in the sense of keeping it out but using it as an advantage is becoming more common. Sound has become integral to contemporary design by using sound to evoke an emotion or as an interactive element.

As demonstrated in figures 19-21, it is possible to integrally link architecture and music. The two can exist side by side but artists and architects have taken it onto themselves to develop a method that creates architecture that is music. In Ekko and Pole Dance, it is clear how the sound is made through human interaction. This direct interaction gives a strong link to people and the architecture.

In Pavillion 21 MINI the music becomes more ambiguous.

By taking sound waves and processing them into a building form, a dynamic space is created which is emblematic of its function. Objects like this building are new, unique ways of thinking that can transform how people view sound in the built environment.

This idea starts to delve into the question of how architecture can be designed to better serve the arts.

It is no longer enough to design a building that keeps sounds out. Incorporating sound into the design can only help to increase the functionality of the building.

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Figure 19 | Ekko

Hjallerup, Denmark

By Thilo Frank

Visitors walk through the structure which records their sounds. The sounds are filtered and remixed creating a pitch which resonates in the structure.

Figure 20 | Pole Dance

Long Island City, New York

By SO-IL

The project is an interactive courtyard where visitors create sound using the poles by bending them, swinging on them or hitting them.

Figure 21 | Pavillion 21 MINI Opera Space Munich, Germany

By Coop Himmelb(l)au

A mobile concert hall, the form was derived from Jimi Hendrix’s “Purple Haze.”

“Analyzing the frequencies of the sound file and linking it to the computer generated 3D model, the scripting tool then parametrically transforms the shell into pyramid shapes like spikes.”

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PART 2 |Art in Architecture The appearance of art in architecture is more commonly seen in buildings. People typically view buildings as inhabitable art. It is this relationship between the two that should become more noticed in architecture. Figures 22-24 demonstrate three unique ways to perceive art in architecture.

As seen in figure 22, the building is an art piece. Utilizing a sculpted wooden enclosure, the building nestles into a form that could easily be placed on display in a modern art museum. These types of buildings stand out to people because they are different from the norm. It is common to see four walls with a gable roof but buildings that break that typology and display a level of creativity and design become more memorable to people. Figure 23 displays this same idea but in the opposite direction. Essentially the artwork takes on the qualities of a building in the scale and structure demonstrated in the artwork. Between the two, there is a similarity in form as well which gives a clear visual connection between the two.

The Hive Loft in figure 24 takes the combination of art and architecture to an extreme. Graffiti is an adornment to buildings that is seen as undesirable and something that should be removed or covered up.

The loft takes the graffiti and pastes it on the front of the house. This incorporation into the architecture gives the house a unique aesthetic quality. On the interior, the idea of graffiti continues with linear forms indicating circulation and functions of the home.

It is methods such as these which help to bring the combination of art and architecture to the attention of the public.

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Figure 22 | Shoffice

Platform 5 Architects London, UK A shed and office combined, this workspace connects to a mid-century terraced house. The curvilinear forms create a relationship between the building and nature. The wood paneling helps to strengthen this bond.

Figure 23 | Wooden Wave HG Architecture Seoul, Korea

This sculpture in the National Museum of Modern and Contemporary art is comprised of thousands of small wood blocks creating a wave-like form. The height of the structure brings the works to a human scale allowing the work to read as an inhabitable space.

Figure 24 | Hive Loft

ITN Architects Melbourne, Australia A modern house that combines architecture and graffiti with the interior and exterior elements designed to mimic forms found in graffiti.

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PART 2 |Project Statement In this project, I am proposing a fine arts center where people can come to experience music and art in a concentrated setting. Learning facilities to spur the interest in music and art is key. This center should have museum space for the public as well as performance halls. Learning space is a necessity, both for art and for music studies in order for a greater appreciation of the arts to form at a young age. Space should be allocated to make the center more accessible to the general public.

This project makes the arts accessible to everyone, regardless of social standing.

The project will look at the use of architecture and what it means to build for the arts. Designing for sound and sight and what ways these aspects can enhance the experience of the visitor.

This project in its essence, will deal with the financial separation that exists between those who can afford to appreciate the arts and those who cannot. This project makes the arts accessible to everyone, regardless of social standing. Money should not be a defining factor in who gets to appreciate the fine arts and this center seeks to bridge the gap that exists.

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"Music is liquid architecture; architecture is frozen music."

-Johann Wolfgang von Goethe

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Part

3

Precedent Studies

Parco Della Musica | Rome, Italy | Renzo Piano Workshop The Getty Center | Los Angeles, California | Richard meier and Partners LLP North Carolina Museum of Art | Raleigh, North carolina | Thomas Phifer Partners Oslo Opera House | Oslo, Norway | Snohetta

PART 3 |Arrangement Study

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Parco Della MUSICA Rome, Italy Renzo Piano Workshop 1994-2002

A "city" for music, the music complex gives Rome its first permanent music concert hall in decades. The project brings the culture of Rome into the arts through museum space and three music halls. Based off of existing infrastructure from the Olympic Park nearby, the project seeks to reinvigorate the area and get people more involved in the arts (Incontro).

Today, the project is not used completely to its fullest potential as the grounds are usually empty if there is not an event. The library, bookshop and cafe however, are typically busy with people who are visiting the complex. The disuse of the public green is due to a lack of knowledge that the area is public.

Figure 25 |

A concept sketch by Renzo Piano, this is emblematic of the complex typology.

Figure 26 |

The building is located in the Northwest portion of the city adjacent to the 1980’s Olympic park.

The complex is unique in its arrangement, combining functional spaces with public areas in an iconic way.

Figure 27|

From the air, the complex can be described as scarabs or beetles which circle an outdoor theatre which mimics ancient roman amphitheaters.

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PART 3 |Arrangement Study (cont.)

Figure 28 |

The largest hall is designed for opera performances and is clad in acoustical panels which can move to accommodate different performance types.

Parti | Harmony

The basic parti of the building follows the idea that even though the inward facing forms are not symmetrical, they are balance by one another, placing them in harmony.

Figure 29 |

The center hall is a theatre in the round used for concert performances.

Circulation

The typical circulation follows an inner and outer ring to circumnavigate the complex. Intermittent are pathways that connect the two rings. Circulation is purely pedestrian.

Height Arrangement Figure 30 |

The small hall is used for small performances and lectures.

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The height arrangement for the pods are from largest to smallest which follows the slight slope in the topography as well.

Opera House Concert Hall Presentation Theatre Roman Ruins Outdoor Amphitheatre

Indoor Circulation/Gallery Visitor’s Center

Program Breakdown

The programmatic elements exist in layers with the pods and performance spaces being the most prominent that attach onto the public functions.

Figure 31 |

Plan for the complex indicating the orientation of the theatres and their relationship with the public spaces.

Figure 32 |

The elevation demonstrates the grade change as well as the height difference utilized in the building.

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PART 3 | Community Interaction Study

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Oslo Opera House Oslo, Norway Snohetta 2008

The Oslo Opera House is the start of a redevelopment plan for the city of Oslo. With the city development centering around the government buildings, Snohetta hoped to create community rejuvenation in the former industrial are of the city.

Figure 33 |

The building is located in the Eastern harbor of the city, typically an industrial area.

The project was a success. Despite the cold weather, the outdoor public spaces are typically occupied on clear days. The visual connection from outdoor to interior spaces is integral in creating the feel of a very public oriented building.

The complex includes two theatres for opera and ballet. The community use of the spaces allow for a greater sense of exposure to the arts within the city.

Figure 34 |

The project is part of a master-plan intending to redevelop the area.

Figure 35 |

The sloping outdoor area allows the ample public space for functions and leisure.

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PART 3 | Community Interaction Study (cont.)

Figure 36 |

The main theatre is a multileveled horseshoe shaped space.

Reminiscent of classical theatres, the space includes artistic pieces such as the main proscenium curtain.

Public Outdoor Space

The entire roof scape of the project is accessible to the public and is widely used in warm weather.

Figure 37 |

The open public spaces allow for a clear exposure of the public realm.

Figure 38 |

The site plan sets the building popping off of an existing jetty. The orientation allows for ambient light to enter for a good portion of the day.

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Solid / Void

The majority of the building is solid, with the intersections of the forms revealing glass slits to highlight public spaces.

Figure 39 |

The plan is clear with the public spaces grouped near the main entrance with supporting spaces and offices clustered to the rear.

Figure 40 |

The section demonstrates the interaction of spaces as indicated by the large auditorium space helping to connect the public and administration portions of the building. Indicated as well are the slopes of the roof scape which allow for pedestrian access.

Areas of Concentration

The two areas in question for this project are the two city harbors. The red indicates the industrial harbor and the blue indicates the tourism area. The idea is to create more of a draw in the industrial area, eventually developing into an urban revitalization of the area.

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PART 3 | Center as a Complex

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The Getty Center Los Angeles, California Richard Meier and Partners LLP 1984-1997

Figure 41 |

An axon of the complex demonstrating the sprawling nature of the center.

Commissioned by the Getty Trust, the organization seeks to advance the greater understanding and preservation of the visual arts in LA. Situated on top of a hill, this project sought to spur an interest in the arts in LA and provide a cultural center for the city.

Combining research labs, meeting spaces as well as museum functions, the Getty becomes much more than a museum. It incorporates a public function into a building that could easily have been kept as a private institution. The intention was to expose the research and technical aspects and create a campus where learning and integration could take place (Richard Meier).

Figure 42 |

The center is located on a hill, acting as a destination for the arts.

Figure 43 |

The center caters towards the public in addition to being a research facility.

Figure 44 |

The plan further demonstrates the scale of the project.

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PART 3 |Public Interaction

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NCMA Raleigh, North Carolina Thomas Phifer Partners 2010

Designed as an addition to the existing museum of art, Phifer’s new building houses $200 million worth of newly donated art to the collection. The building is a response to Gehry’s Guggenheim in Bilbao which was part of a wave of spectacular architectural projects (NCMA).

Phifer’s design is a self-effacing rectangular box which is adorned with subtle changes in form on the exterior and pristine white interiors with Northern light.

Figure 45 |

The interior spaces offer a cool, modern atmosphere allowing the focus to be on the art.

Galleries flow into one another and it allows for easy navigation to both indoor and outdoor spaces. Outdoor spaces allow for gathering and reflecting pools add a calming aspect to the overall peaceful design.

Figure 46 |

The exterior areas are peaceful with the use of reflecting pools.

Figure 47 |

The plan shows the relationship of the new building to the existing.

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Part

4

Initial Program Analysis Description of Program

PART 4 |InitialProgram Analysis Music and Arts Center Category

Typology

Space

#

SqFt

Total

Public

General

Lobby

1

2000

2000

Office Food

Retail

10

150

1500

Museum

1

5000

5000

Cafe

1

2000

2000

Restaurant

1

5000

5000

Kitchen

1

400

400

Art Shop

1

800

800

Music Shop

1

408

408 17108

Art

Classroom Space

4

1000

4000

Painting

Educational

Sculpture Studio

1

1200

1200

Sculpture

Ceramics Studio

1

1200

1200

Drawing

Offices

5

150

750 1200

Service Public

Materials Storage

2

600

Props Storage

2

200

400

12

400

4800

Work Space

2

1000

2000

Gallery

1

3000

Art Studio Rental

3000 18550

Music

10

150

1500

Classical

Educational

Group Practice Space

4

600

2400

Jazz

Classroom Space

4

1000

4000

Offices

5

150

750

Instrument Storage

2

400

800

Instrument Repair

1

800

800

Rehearsal Space

2

3000

6000

Green Room

1

600

600

Performance Hall

1

8000

8000

Rock Service Public Function

Solo Practice Room

Recording Studio

2

600

1200

Recording Booth

1

200

200

Performance venue

1

800

800 27050

Services

Boiler Room

1

TBD

TBD

Fan Room

1

TBD

TBD

Electrical Room

1

150

150

Custodian Closet

4

90

360

Custodian Office

2

150

300

Security Office

2

150

300

Server Room

1

100

100 1210

Total Net Total Gross

63918 Multiplier x 1.6

102268.8 *Multiplier accounts for gathering/storage/mechanical

43 Buffalo, NY | Fine Arts Center

Possible Program Arrangements Sinuous Programmatic spaces follow a natural curving pattern along the site. The spaces share a relation in circulation but remain separated in mass.

Bar Each programmatic space is separated in its own section. A circulation path runs through the areas and links the building.

Centralized The spaces of the program circulate a central courtyard.

This layout gives each program space equal importance with a focus on the central public area.

Clustered The program spaces follow a more integrated approach with the spaces merging together and creating a cohesive building.

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PART 4 |Description of Program Public

Figure 48 |

This category is divided into three typologies: general, food and retail. These spaces are purely public function with open, spacious areas for gathering. The museum, which is the largest program space will house local art collections demonstrating the history of the city and its past glories. In order to maintain the public appeal, visual connection is key in these spaces to allow for an open dialogue between program. Not listed in the program although still important to the project will be outdoor space. Outdoor gathering space and public areas are necessary in order to attract the general public and invite people to participate in building functions.

Art

Figure 49 |

Art spaces share an extension to the public function.

Combining public and private workspaces, this category is divided into three typologies; educational, service and public. Spaces such as the classroom spaces should share visual connections with the main public space in order to form a stronger bond as to what the building is about. The gallery space should share similar ideas as the museum in its organization and relation to the public zone. In addition, the public also has the option of renting out studio space for personal development.

Music

Figure 50 |

45 Buffalo, NY | Fine Arts Center

The music spaces have similar ideologies as the art spaces. Visual and audible connections are important to the public spaces as to spur the integration of the building's ideas. Focusing on the three genres of classical, jazz and rock, the building has the ability to expand to other genres if the need should arise. A large performance hall satisfies the needs of the classical genre. In addition to that, there is program set aside for a band venue which will be added to the restaurant space. By combining these two functions, the public has more access to music outside of buying tickets to see a performance.

PUBLIC

Lobby

Offices

Museum

Cafe

Restaurant

Kitchen Art Shop

Music Shop ART

The lobby of the building should be integral to the building. It should provide an open space that allows for clear access to all the areas of the building. Visitors should know where to go simply by being in this space.

The office spaces should be separate but available for public consultation. This will be the offices of the administration staff and the coordinator.

The museum will occupy a good amount of floorspace.

Double height in certain areas, the works exhibited should be designed into the spaces.

The cafe will be located either in or near the lobby. This will be an area of relaxation in the building. Although it may be small, it will have a presence in the space.

The restaurant will be a large open space, linked with the performance venue, the space will have the feel of a jazz club. This area will have an entrance separate from the main entrance.

The kitchens will be hidden and will support both the restaurant and the cafe.

The art shop will be accessible from the lobby and will have an exterior facade. The location should be clear to the public.

The music shop will be accessible from the lobby and will have an exterior facade. The location should be clear to the public.

Classroom Space

The classrooms will have taller ceilings and good ventilation. These should be easy to find in the building.

Sculpture Studio

The sculpture studio should have access to an outdoor work area and will need to be well ventilated.

Ceramics Studio

The ceramics studio should have access to an outdoor work area and will need to be well ventilated.

Offices

The office spaces should be separate but available for consultation. This will house teachers offices as well as program coordinators.

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PART 4 |Description of Program Materials Storage

Storage should be accessible to all work spaces.

Props Storage

Storage should be accessible to all work spaces.

Art Studio Rental

The art studios will be easily accessible from the lobby.

They should be well ventilated and located near all amenities. These spaces may need a separate entrance for after hours use.

Work Space

The work spaces should be a large communal area which has materials and supplies to support classes as well as individual work.

Gallery

The gallery should be accessible from the lobby. This will demonstrate work made in-house. The area will be an open plan and will have access to an outdoor area.

MUSIC Solo Practice Room

The solo practice rooms will be sound insulated and should not be near any overly noisy portion of the building.

Group Practice Space

This area will be a communal rehearsal space, large enough to accommodate any size ensemble.

Classroom Space Offices

Instrument Storage

The office spaces should be separate but available for consultation. This will house teachers offices as well as program coordinators.

Storage should be accessible to all work spaces.

Instrument Repair

The repair shop should be accessible to all work spaces.

Rehearsal Space

The rehearsal space should be similar to the group practice room but will have acoustical design in order to more accurately imitate a performance hall.

Green Room

47

The classrooms will have taller ceilings and good ventilation. These should be easy to find in the building.

Buffalo, NY | Fine Arts Center

This should be a small prep room adjacent to the performance hall.

Performance hall

The main hall will have acoustical design as well as be able to accommodate a few hundred people. A mezzanine may be included.

Recording Studio

The recording studio should be sound insulated and away from noisy areas. It should also be accessible to the public.

Recording Booth

The recording booth should be adjacent to the recording studio

Performance Venue

The performance venue will be connected to the restaurant and will include a small backstage area.

Services Boiler Room

Dependent on built square footages.

Fan Room

Dependent on built square footages.

Electrical Room

This room should be continuous on every level in size and location.

Custodian Closet

Custodian closets should be accessible near every bathroom/food preparation area.

Custodian Office

This area should have access to all areas of the building. It should not be accessible by the public.

Security Office

This area should have access to all areas of the building. It should not be accessible by the public.

Server Room

This room will house mechanics for media labs as well as security systems.

Center Designed as a unified building or development.

Based off a square footage factor of 1 for each 300 square feet of gross floor area as is indicated by the building type, there will be 213 parking spaces. This number may change based off more specified needs for each area of the building.

Parking

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48

PART 4 |User Narratives The User “Walking onto the site, I am immediately engulfed with the sound of smooth jazz flowing out from the building.

There are clusters of people waling around the vast campus looking at the sculptures and listening to the band playing on the stage nearby. I walk the grounds for awhile, sitting to listen to the band and walking along the tree-lined paths with art installations scattered intermittently between them.

Figure 51 |

When the band finishes their set, I make my way into the building. Stepping inside the large atrium, I am filled with a sense of wonder as I am faced with the opportunities in the building as to where I can go. I grab a coffee from the cafe and stop to take a look around the art gallery. Filled with local art, the space leads me towards the museum where I view the city’s more permanent collections. The art works well with the space, as though the art was made for the space and had been waiting to be placed in its specific spot.

I make my way back towards the atrium where I stop by the learning desk. I peruse the pamphlets about classes being offered at the facility and grab a few on piano lessons to look at more later on. Looking around, I can see into a few of the art and music spaces, watching people working and playing from below. From one of the music rooms, I can hear the lilting tune of a flute wafting through the space.

Walking towards the music wing, I go to the ticket booth to buy my ticket to tonight’s symphony. The city’s community band was playing Tchaikovsky tonight and I wanted to get a good seat. I usually watched from the overflow area where tickets were cheaper but this time, I wanted to see the real thing and see how it compared.

Figure 52 |

49 Buffalo, NY | Fine Arts Center

I proceed outside to the terrace where a group of art students are drawing the surrounding landscape. With the sculpture garden scattered through the grounds, it makes for a relaxing ambiance as the sun slowly makes its way farther down in the sky. It was another Saturday spent at the Music and Art Center but there always was something going on here that I can never seem to become bored of it. I turn to head back home, knowing in the back of my mind that I’ll be right back here next week.”

The Worker I pull into the underground parking of the building at seven in the morning on a Saturday. I get out of my car and walk towards the art wing of the sprawling Music and Arts Center. My office is right near the entrance so it wasn’t long before I was sitting down in my chair, and reviewing my lesson plan for that day. I had drawing lessons starting at 12 for 3 youth groups, all middle school age which would be a handful but luckily I ended with the advanced class starting at 5 consisting of mostly older folks.

I grabbed my keys off the rack and began opening up the studios. It’s that time of day where the light filters into the studios from above, casting a warm glow over the work spaces. By nine, people begin to show up for work and there are a few visitors starting to walk around on the grounds.

Figure 53 |

I head towards the cafe to grab a coffee and meet with the museum coordinator to discuss a new gallery exhibit I am looking to do for our private studio tenants.

That was a deal we had worked out with them. If the tenants were willing to produce a gallery exhibition 3 times a year, there would be a price reduction in their rent.

Afterwards I make my way to the first classroom to prep for the first class. It was a church group from downtown so I figured it would be best to try out something fun since most had never been to the center before. Usually if I made a good enough impression, parents would send their children back from classes or sometimes to one of our camps.

The three youth classes passed by without much trouble and minimal cleanup so I was able to have enough time to set up the outdoor classroom area for the advanced group. The class went by without a problem and we were able to hear the jazz group playing from across the complex which gave a nice feeing to the whole drawing session.

Figure 54 |

After that class there was nothing to do but pack up as the last of the visitors made their way back towards the bus stop. As for myself, I locked up the last of the rooms and headed out towards my car, ready to start the whole thing over again tomorrow.

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50

Part

5

Site Selection Site Analysis Zoning & Code Review

PART 1 | Site Selection Buffalo | Erie County | New York Founded 1801 Buffalo, New York is the second largest city in New York, located on the eastern edge of Lake Erie. The city of Buffalo was once a thriving city with its valuable location on Lake Erie after the construction of the Erie Canal and the boom of steel and heavy industry in the 1900’s. In recent years however, the population has been in a steady decrease as has the presence of tourism and industry. There are many factors in the

Figure 55 |

New York State map

city’s history which have contributed to this, one of the main ones being a greater desire to move to New York City and other areas with a more thriving cultural presence (Buffalo History Index).

The presence of the arts in the city is present yet scattered. There are many art galleries in the city throughout a number of districts although there are few relations between the different venues. The theatre district houses many small performance venues as well as a large performing arts center.

Despite the existence of these spaces in the city, there is no one location where people can go to experience the arts in full (Buffalo History Index). This building has the opportunity to become a destination for the city.

This will increase public interaction as well as create a drive for tourism.

Figure 56 |

Buffalo, NY City map

53 Buffalo, NY | Fine Arts Center

Buffalo, NY | Fine Arts Center

54

PART 1 | City History Buffalo, NY has a rich and exciting history that dates back to the city’s founding in 1801. In 1804 the establishment of a rail system that radiated out from the town center allowed for a wide array of connections to other cities to occur. In its strategic location at the mouth of the Erie Canal, the town allowed for population of the Midwest. It also allowed New York City to grow and was called the “Gateway to the West.“ The village was declared a city in 1832. The Wells Fargo express began operating in 1843 which began a direct line from Albany to Buffalo setting Buffalo up to become a key city for New York’s industry (Buffalo History Index).

Figure 57 |

1805 Map of Buffalo

The city was an important metropolis for early New York. Olmsted and Vaux designed the city’s park system in 1876 before Olmsted would design Central Park in New York City. The Buffalo Starch Factory was labeled third in world production in 1877. The first electric streetlights in the US were lit in 1881. In 1891, the New York Central Railroad began operating the Empire State Express to connect New York City and Buffalo which was the first regularly scheduled high speed train (Buffalo History Index).

The expansion of the city followed these massive hurdles the city was passing. Illustrated in figure 57, the city began as a small gridded village hugging the shore of Lake Erie. The city expanded outward from here as seen in figure 58 to accommodate the expanding population that was the result of the city’s increased industry (Buffalo History Index).

Figure 58 |

1967 Map of Buffalo

At the start of the 20th century, the city was a vastly growing metropolis with an expanding economy.

Immigrants from Europe came in to work in the steel and grain mills. The Great Depression in 1929-39

55 Buffalo, NY | Fine Arts Center

saw massive unemployment, particularly among the working class. The city soon became a force for labor unions and the Democratic Party (Buffalo History Index).

The city began to decline in the later half of the 20th century for several reasons. One was the opening of the St. Lawrence Seaway in 1957. Goods and vessels that has previously needed to pass through Buffalo’s port could now bypass it through a series of canals

Figure 59 |

Chart depicting urban sprawl in relationship to population growth.

and locks traveling through the St. Lawrence River.

Another reason was population decline. The main cause of this seemed to be suburban migration. The city’s population has been cut by almost 50% as industries shut down and people left the rust belt for other opportunities to the South and West. Erie county has lost population every year since 1970 according to the census reports (Buffalo History Index).

As indicated in figure 59, suburban sprawl continues to expand the city. The population, as shown in yellow has remained constant through the years yet the urbanized area has continually increased.

Figure 60 |

Chart depicting the population decline of Buffalo in recent years.

Figure 60 further serves to highlight this decline of population. The city’s peak of industry can clearly be seen as well as its slow decline from the 1970s onward.

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PART 1 | The City Today Buffalo today is a different city. Industry is no longer a dominating aspect of the city and city values have shifted. Advertisements boast the city’s many attractions and arts scene as well as its proximity to Niagara Falls (Buffalo History Index).

Figure 61 |

Chart depicting diversity in Buffalo.

Travel attractions boast art galleries, performances as well as seasonal activities. These websites mask the underlying issues with Buffalo. Forbes has named it one of America’s top ten dying cities and fractures in the city’s infrastructure are hindering the ability of the city to rise above this downward trend (Buffalo History Index).

Diversity in the city is relatively well mixed with representation from multiple ethnicities. The large black population is most likely due to the fact that the city was the destination for the underground railroad. Settlers from that as well as those looking to

Figure 62 |

Chart depicting transportation options in Buffalo.

seek employment back in the industrial days of the city have contributed to the diverse nature of the city (Buffalo History Index).

Transportation in the city is typically by car. The city is widespread and walking is not typically an option due to the sheer amount of sprawl (Buffalo History Index).

There are few pedestrians in the city due to this aspect.

The city does boast some notable attractions outside of the city center. Nestled in the residential section of the city is Frank Lloyd Wright’s Martin House as well as the Buffalo Zoo. The Buffalo Bill’s stadium is located near the edge of the Downtown District as well (Buffalo History Index). These alone are not enough to draw

people into the city.

57

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Buffalo, NY | Fine Arts Center

58

PART 1 | City Diagrams Figure 63 | Access to Green Space The park system in the city is one of the oldest in the country. Designed by Frederick Law Olmsted, many areas of the city have some type of access to park areas. The downtown area is lacking in this regard due to the absence of large park spaces. Lafayette Square and Niagara Square offer some green space however, many areas of open space are currently paved over.

There is a movement in the city to rehabilitate the waterfront into a system of green spaces and parks, which will affect the waterfront of the downtown district.

Figure 64 | Transportation Routes Transportation in the city is predominantly by cars.

There are several train lines that run through the city as a remnant from the city’s industrial past. Through the Main Street and into downtown, there is a tram line which passes directly through the Theatre District.

This line offers a method of transportation within the city. Buses are also present in the city and service a large portion of the greater Buffalo area.

Parking in the city is not a problem. Most buildings have their own parking lots and there are public lots on nearly every street in downtown.

59 Buffalo, NY | Fine Arts Center

Figure 65 | Public Space Access As illustrated, the opportunities for public space is relatively accessible in the city. Public space accounts for both indoor and outdoor areas. The downtown district has many accommodations for this such as the convention center and the public library.

Despite this public accessibility, there are few people on the streets during the day and the amount of use at each venue varies by attraction type and time of year.

Figure 66 | Vacant Lots in the City There are a number of vacant lots in the city. This is a result of a decline in industry as well as a lack of building in the city. There is a concentration of lots in the center of the city, adjacent to where the downtown district ends.

Much of the vacant lots exist in residential areas of the city. This corresponds to the population decline.

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PART 1 | Building Typologies Monument This typology is seen typically in squares or public spaces in order to signify importance in the city's history.

Residential This typology is seen sprawling out from the downtown area. The city of Buffalo is not as built up as other cities so low single family houses are common in the area.

Classical This typology is prevalent in the downtown area.

Monumental buildings, showing classical ties dot the city.

Tower This typology is typically seen in the downtown district.

Although sparse, this typology lends a specific verticality to the city.

Landmark This typology encompasses buildings that don’t fit a specific typology. They are distinctive enough in form and importance in order to be memorable to people.

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Buffalo, NY | Fine Arts Center

62

PART 1 | Notable Buildings City Hall Architect | Dietel, Wade & Jones Year | 1931 Function | A 32 story art deco building that acts as the major house of government in the city.

McKinley Monument Architect | Carrère and Hastings Year | 1907 Function | A 97 foot tall marble obelisk that commemorates William McKinley, the 25th President of the USA

Shoreline Apartments Architect | Paul Rudolph Year | 1974 Function | A monumental, terraced low rise apartment complex

Prudential Building Architect | Louis H. Sullivan and Dankmar Adler Year | 1896 Function | A private office building based off of the idea that form follows function.

Shea’s Center Architect | Rapp & Rapp Year | 1926 Function | Originally designed as a move house, the theatre has undergone renovations and is currently a performing arts center

63 Buffalo, NY | Fine Arts Center

Buffalo, NY | Fine Arts Center

64

PART 1 | Climate Analysis Buffalo, NY is notorious with having brutally cold temperatures and receiving massive snow storms due to its location on the Eastern edge of Lake Erie.

This, in fact, is not the case. Buffalo is not one of the snowiest cities in the United States and does have a four-season cycle. The precipitation for the area is relatively constant throughout the year with an average of three inches. The temperature does experience a large change with summer temperatures reaching the

Figure 67 |

Chart depicting temperature and precipitation trends.

eighties and a winter average of twenty-six degrees Fahrenheit which is slightly colder than the national average (Weather).

The cloud cover for the area averages around 95% in the winter yet drops to 61% in the summer. While winter months remain relatively overcast, Buffalo has one of the sunniest summers of any major city in the Northeast.

Figure 68 |

Chart depicting cloud cover in Buffalo.

The psychrometric charts depicted demonstrate comfort levels in indoor conditions. The top chart depicts comfort levels without any heating or cooling systems in place. In this instance, the conditions in Buffalo are only comfortable for 10% of the year. With mechanical systems in place, with an emphasis on heating, a comfort level of 100% throughout the year can be reached.

Being on Lake Erie, lake effect snow is always a possibility with the amount of precipitation in the area. Being on the water, this also allows for a greater amount of wind to occur, particularly coming off of the

Figure 69 |

Climate Consultant psychrometric charts for Buffalo.

65 Buffalo, NY | Fine Arts Center

lake to the West.

SPRING

SUMMER

FALL

WINTER

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66

PART 1 | Buffalo Arts The arts scene in Buffalo is relatively scattered. There is no designated arts district in the city which results in an eclectic distribution of galleries and studio spaces.

There are several museums in the city however, many of them are outside the city center and are not easily accessible without a car (Buffalo History Index).

The Albright-Knox Art Gallery, as pictured in Figure 70, is the largest art museum in Buffalo and it houses much of the city’s permanent art collection. The building aesthetically does not reflect the art that is displayed inside. The exterior is based off of the Parthenon and gives off a very dated feel to a modern art gallery (Buffalo History Index).

Local artists also have their place in the city with several small, local art galleries which display local work and Figure 71 depicts the Tri-Main Center which rents out space to the Buffalo Arts Studio. This nonforprofit rents out affordable studio space and offers classes for the public (Buffalo History Index). There may be a possible partnership available in the future between the Buffalo Arts Studio and this Music and Arts Center to jump-start initial interest in the program. This could potentially off the firm a permanent place of residence in the building.

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Figure 70 | Albright-Knox Art Gallery E.B. Green & William Sydney Wicks 1900-1905 The largest art gallery in Buffalo, the Greek Revival building has a significant permanent collection and is on a rotation with other museums to receive other valuable works such as Monet and Pollak.

Figure 71 | Buffalo Arts Studio 1992 A nonforprofit group, the organization currently resides in the Tri-Main Center and offers in house studio space to local artists. Some public art classes are also offered in house.

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68

PART 1 | Theatre District The Theatre District of Buffalo occupies Main Street on the 600 and 700 blocks. During the boom of industry in the 19th century, live entertainment flourished as well. Throughout the years beginning with the first theatre simply titled “The Theatre,“ concert halls, theatres, live performance halls and other forms of liver performances began to spring up. Michael Shea began his theatre empire in 1920 with the opening of Shea’s Buffalo.

The street itself housed entertainment as well hosting parades of marching veterans, police officers, firemen

Figure 72 |

View from the South end of the Theatre District

and decorative floats on wagons. These parades served to reinforce the ideas that the vitality of the entertainment industry served to promote retailers and restaurants.

Today, the theatre district is a shell of its former self.

With only a small number of venues still open, the street is nowhere near as lively as it once was. With the tram line and a two lane road running through, the street has more of a feel of a transportation hub than a theatre icon.

There are some attempts to highlight the areas former glory such as informational signs and the plaza of the stars, which recognizes individuals from the city who made it big in the entertainment industry.

Figure 73 |

Informational sign indicating significant buildings in the area.

69 Buffalo, NY | Fine Arts Center

Figure 74 |

Plaza commemorating famous actors from Buffalo.

Figure 75 |

View from tram tunnel looking south.

Buffalo, NY | Fine Arts Center

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PART 1 | Shea’s Buffalo Theatre Shea’s Buffalo theatre has had a long and adventurous history. Beginning as a movie palace in 1926, the venue was home to silent movies until 1940. The venue changed hands several times throughout the years before landing into the custody of the City of Buffalo in 1974. At this time, the city was looking to demolish the building and reuse the land for another purpose (Buffalo History Index).

Friends of the Buffalo Theatre inc. was formed and was granted custody of the theatre. The theatre was closed in 1975. At that time, restoration of the theatre slowly began until the theatre returned to the city’s hands in 1979. Restoration of the theatre began to gain momentum in the 1990’s and in 2000-2005, the large-scale restoration of the theatre was completed.

Interior restoration would continue for some time (Buffalo History Index).

The blade and pediment was added in 2010 in the theatre’s most recent round of renovations (Buffalo History Index).

Today the theatre acts as one of the largest and most successful performance venues in Western New York. Completely refurbished, the art deco building houses performances by traveling Broadway shows, performance groups and comedians.

Figure 76 |

Replica blade and pediment from 2004.

The theatre can house 3019 people in its orchestra and mezzanine levels and typically has a full house with most of its shows.

The success of this theatre shows that people are interested in the arts and respond to a positive exposure to the fine arts.

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Figure 77 |

Art Deco Lobby that connects to both street facades.

Figure 78 |

Art Deco 3019 seat theatre interior.

Buffalo, NY | Fine Arts Center

72

PART 5 |Client Selection BURA Buffalo Urban Renewal Agency Est. 1966 Mission Statement | “The City of Buffalo Urban Renewal Agency, strives to promote the expeditious undertaking, financing and completion of community development programs and create quality and vibrant urban living in Buffalo New York through neighborhood driven development projects.

BURA achieves community development through expenditures development of and rehab of existing houses and or apartments and offering technical and financial assistance to businesses and provides technical assistance and compliance to the City of Buffalo.�

Figure 79 |

Buffalo Urban Renewal Association located in City Hall.

BURA (Mission Statement)

Performance Goals | -Improving

the appearance of the City -Facilitating opportunities for business investment -Address the needs of seniors, youth, homeless, and the poor -To coordinate funding from multiple sources -Supporting in the management of federal programs

How they will assist | -Coordinating funding and sponsors for the facility -Expediting government processes such as permits -Guaging and spurring public interest -Coordinating public forums for discussion -Coordinating public functions after construction

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Music Is Art NonforProfit Est. 2003 Mission Statement | “Music is Art is dedicated to exploring and reshaping music’s cultural, social, and educational impact on our community supported by a variety of programs and events.

Music is Art is a not-for-profit, federal 501c3 organization founded in 2003 by Goo Goo Dolls bassist and Buffalo resident, Robby Takac. Music is Art operates through a board of directors, staff, sponsors and volunteers, as well as collaborations with several partner organizations.

Figure 80 |

Music is Art youth performance practice.

Music is Art is proud to enrich our community with access to music. It is our hope that we encourage people to find their musical voice, think about how music touches their lives, and most importantly think about the fact that...music is art.”

Music is Art (MusicisArt)

How they will assist | -Fundraising support -Celebrity figurehead to increase community engagement -Spurring public interest -Opportunities to expand the company’s learning program -Publicity through music festivals -Opportunities for large-scale donations

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74

PART 5 |Site Selection The site is located in the Northern portion of the Downtown District. The lot is currently a privately owned parking lot which serves several businesses as well as the local theatres during performances. The Theatre District is one street over from the site where the two share a direct connection through a pedestrian

Figure 81 |

Site is completely unoccupied on a Sunday afternoon.

walkway and the two opposite street-side entrances to Shea’s Buffalo Theatre. The land is currently zoned for commercial use and is in the Downtown Opportunity District which gives the specified use of the site more fluidity in the types of buildings that are allowed there.

Much of the block that the site rests on are privately owned parking lots with some restaurants and bars mixed in with an apartment building and some small retail shops.

Public transportation is readily accessible due to

Figure 82 |

Site has filled up completely on Monday morning.

nearby bus routes and the tram stop which runs through main street one block over. The site is also accessible by car with the on-ramp to the highway a few blocks away.

This area of the city acts as a threshold to the city center and the more residential areas of the city. As indicated by the figure ground on the opposite page, the scale of the buildings even changes as you get farther away from the waterfront.

75

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Buffalo, NY | Fine Arts Center

76

PART 5 |Surrounding Buildings

Figure 83 | Section A

400’

Figure 84 |

200’

100’

Section B

197’

A

233’

Figure 82 |

Site Dimensions

77

Buffalo, NY | Fine Arts Center

B

50’

10’0’

Buffalo, NY | Fine Arts Center

78

Alleyway Theatre

Tralf Music Hall

SEFCU Buffalo

Shea’s Buffalo Theatre

Encore Restaurant

Cabaret Restaurant

Vacant Buildings

Dinosaur BBQ

Holley Farms Market

Apartments / Sky Bar

Indulge Bar

Buffalo Chophouse

Fisher Associates Dental Health Inc. Babeville Methodist Church

WGRZ TV Channel 2

Center-Education Innovation

Buffalo Firefighters

PART 5 |Site Diagrams Figure 83 | Site Location The site is a rectangular lot across the street from the rear entrance to Shea’s Buffalo Theatre. The parking lot that currently exists there is one of the main parking areas for the theatre which indicates that the parking will need to remain in this area. This lends itself to the idea of underground parking in order to replace the spaces removed.

Figure 84 | Site Access The site is slightly removed from the theatre district however there is direct access through the “Alleyway Theatre“ that exists next to Shea’s. Although dis separate from the main area of the Theatre district, this connection as well as the relationship the building shares to Shea’s will help to solidify the area’s connection to the building.

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Figure 85 | Site Circulation Buffalo is largely a driving city. All roads surrounding the site are two way roads with limited on street parking.

Sidewalks surround the roads on both sides allowing for pedestrian access. There are bus lines that run nearby as well as a tram line that runs through main street one street over.

Public Vehicular Pedestrian

Figure 86 |

in

3M

5M

The city is very walkable in terms of quality of sidewalks and limited obstructions. The weather prevents many people from wanting to travel outdoors which results in the city being very car oriented.

Despite this, it takes roughly three minutes to walk out from the center of the site and five minutes to leave the block entirely.

in

Walking Distance

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PART 5 | Erie County On-Line Mapping System Parcel Detail Report

Report generated: 1/17/2016 9:22:06 PM

Parcel Overview Map

Parcel Detail Map

PIN: 1402001113800002001100

Acreage:

SBL: 111.38-2-1.1

Total Assessment:

$900,000

Address:

Land Assessment:

$730,000

470 PEARL ST

0.994

Owner 1: 470 PEARL STREET LLC

County Taxes: $900,000

Owner 2:

Town Taxes:

Mailing Address: 257 FRANKLIN ST

School Taxes: $0

City/Zip:

Village Taxes: $0

BUFFALO NY 14202

$0

Municipality: City of Buffalo

School District:

Property Class:

Year Built:

438

0

Class Description: C - Parking lot

Sqft Living Area:

Front:

Condition: 0

197.07

Depth: 233.86

Heating: 0

Deed Roll: 1

Basement:

Deed Book: 11090

Fireplace:

Deed Page: 4861

Beds: 0

Deed Date:

Baths: 0

CITY OF BUFFALO

0

0 0

Erie County, its officials, and its employees assume no responsibility or legal liability for the accuracy, completeness, reliability, timeliness, or usefulness of any information provided. Tax parcel data was prepared for tax purposes only and is not to be reproduced or used for surveying or conveyancing. This map is a user generated static output from an Internet mapping site and is for reference only. Data layers that appear on this map may or may not be accurate, current, or otherwise reliable.

81

Buffalo, NY | Fine Arts Center

Figure 87 | (Opposite) Parcel Information Figure 88 |

Lot Zoning Information

Buffalo, NY | Fine Arts Center

82

State [ 2010 Building Code of New York State ] Chapter 3 - Use and Occupancy Classification SECTION 301 GENERAL SECTION 302 CLASSIFICATION SECTION 303 ASSEMBLY GROUP A SECTION 304 BUSINESS GROUP B SECTION 305 EDUCATIONAL GROUP E SECTION 306 FACTORY GROUP F SECTION 307 HIGH-HAZARD GROUP H SECTION 308 INSTITUTIONAL GROUP I SECTION 309 MERCANTILE GROUP M SECTION 310 RESIDENTIAL GROUP R SECTION 311 STORAGE GROUP S SECTION 312 UTILITY AND MISCELLANEOUS GROUP U

PART 5 |Zoning Regulations Figure 89 |

Assembly Use A

303.1 Assembly Group A. 303.1 Assembly Group A. Top Previous Section Next Section To view the next subsection please select the Next Section option.

SECTION 303 ASSEMBLY GROUP A 303.1 Assembly Group A. Assembly Group A occupancy includes, among others, the use of a building or structure, or a portion thereof, for the gathering of persons for purposes such as civic, social or religious functions; recreation, food or drink consumption; or awaiting transportation.

Exceptions: 1. A building or portion of a building used for nonaccessory assembly purposes with an occupant load of less than 50 persons shall be classified as a Group B occupancy.

2. A room or space used for assembly purposes with an occupant load of less than 50 persons and accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy.

3. A room or space used for assembly purposes that is less than 750 square feet (70 m2) in area and is accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy.

Assembly occupancies shall include the following: A-1 Assembly uses, usually with fixed seating, intended for the production and viewing of the performing arts or motion pictures including, but not limited to: Motion picture theaters Symphony and concert halls Television and radio studios admitting an audience Theaters A-2 Assembly uses intended for food and/or drink consumption including, but not limited to: Banquet halls Night clubs Restaurants Taverns and bars A-3 Assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A including, but not limited to: Amusement arcades Art galleries Bowling alleys Places of religious worship Community halls Courtrooms Dance halls (not including food or drink consumption) Exhibition halls Funeral parlors Gymnasiums (without spectator seating) Indoor swimming pools (without spectator seating) Indoor tennis courts (without spectator seating) Lecture halls Libraries Museums Waiting areas in transportation terminals Pool and billiard parlors A-4 Assembly uses intended for viewing of indoor sporting events and activities with spectator seating including, but not limited to: Arenas Skating rinks Swimming pools Tennis courts A-5 Assembly uses intended for participation in or viewing outdoor activities including, but not limited to: Amusement park structures Bleachers Grandstands Stadiums Top Previous Section Next Section To view the next subsection please select the Next Section option.

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State [ 2010 Building Code of New York State ] Chapter 5 - General Building Heights and Areas SECTION 501 GENERAL SECTION 502 DEFINITIONS SECTION 503 GENERAL HEIGHT AND AREA LIMITATIONS SECTION 504 HEIGHT SECTION 505 MEZZANINES SECTION 506 AREA MODIFICATIONS SECTION 507 UNLIMITED AREA BUILDINGS SECTION 508 MIXED USE AND OCCUPANCY SECTION 509 SPECIAL PROVISIONS

503.1 General.

503.1 General.

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SECTION 503 GENERAL HEIGHT AND AREA LIMITATIONS

Figure 90 |

Area and Height Restrictions

TABLE 503 ALLOWABLE HEIGHT AND BUILDING AREASa Height limitations shown as stories and feet above grade plane. Area limitations as determined by the definition of ‘Area, building,’ per story TYPE OF CONSTRUCTION

GROUP A-1 A-2 A-3 A-4 A-5

E F-1 F-2 H-1 H-2d H-3d H-4 H-5 I-1 I-2 I-3 I-4 M R-1 R-2 R-3 R-4 S-1 S-2b, c Uc

TYPE II A B

HGT(feet) HGT(S)

UL

160

S A S A S A S A

UL UL UL UL UL UL UL UL

11 UL 11 UL 11 UL UL UL

3 15,500 3 15,500 3 15,500 UL UL

S A

UL UL

5 UL

3 26,500

S A

S A

B

TYPE I A B

S A

S A S A S A S A

S A

S A

S A

UL UL

UL UL

5 UL

11 UL

UL UL

11 UL

UL UL

6 60,000

4 UL

4 UL

UL 11 UL UL 1 1 21,000 16,500 UL 3 21,000 16,500 UL UL

7 UL

65

3 15,500

5 37,500

4 25,000

55

2 8,500

TYPE III A B 65

3 14,000

2 9,500 2 9,500 2 9,500 UL UL

3 14,000 3 14,000 3 14,000 UL UL

2 14,500

3 23,500

4 23,000

50

40

2 9,500 2 9,500 2 9,500 UL UL

3 15,000 3 15,000 3 15,000 UL UL

2 11,500 2 11,500 2 11,500 UL UL

1 5,500 1 6,000 1 6,000 1 6,000 UL UL

2 14,500

3 25,500

1 18,500

1 9,500

4 19,000

5 50,500 1 10,500 2 10,500

3 21,000 1 7,500 1 7,500

1 8,500 2 13,000 NP NP 1 3,000

5 37,500

3 17,500

5 28,500

3 17,500

5 36,000

3 18,000

2 6,500

3 37,500

3 28,500

3 19,000

3 36,000

2 10,000

3 18,000

1 5,000

2 9,000

UL UL

9 55,000

UL UL

5 60,500

S A S A

UL UL UL UL

11 UL 11 UL

4 24,000 4 24,000

4 16,000 4 16,000

4 24,000 4 24,000

4 16,000 4 16,000

4 20,500 4 20,500

3 12,000 3 12,000

2 7,000 2 7,000

S A

UL UL

11 UL

4 UL

4 UL

4 UL

4 UL

4 UL

3 UL

3 UL

S A

UL UL

11 UL

4 24,000

4 16,000

4 24,000

4 16,000

4 20,500

3 12,000

2 7,000

S A S A

UL UL UL UL

S A

UL UL

S A

S A S A S A

UL UL UL UL UL UL

4 19,000

3 23,000

4 25,500

2 14,000

2 9,000

3 18,000 1 7,000 1 7,000

2 13,000

4 33,500

3 18,000

4 28,500 1 9,500 2 9,500

4 17,500

2 12,000

5 36,000

2 11,500

3 23,000 1 7,000 1 7,000

2 14,000

3 19,000

65

3 15,000

TYPE V A B

5 37,500 1 11,000 2 11,000 4 26,500

2 15,500

5 28,500

55

2 8,500

TYPE IV HT

4 UL 4 UL

2 15,000 2 15,000

11 UL

4 21,500

11 48,000 11 79,000 5 35,500

3 26,500

4 26,000 5 39,000 4 19,000

3 10,000 1 11,000

4 16,500 1 12,000

3 10,000 NP NP

4 18,000 1 12,000

3 10,500 1 9,500

2 4,500 NP NP

2 13,000

3 23,500

2 13,000

3 25,500

1 18,500

1 9,000

1 10,000

4 12,500

3 17,500 4 26,000 2 8,500

2 10,500

4 18,500

3 26,000 4 39,000 3 14,000

1 7,500

4 12,500

3 17,500 4 26,000 2 8,500

2 12,000

4 20,500

4 25,500 5 38,500 4 18,000

2 7,500

3 14,000

3 14,000 4 21,000 2 9,000

1 5,000

1 9,000

1 9,000 2 13,500 1 5,500

For SI: 1 foot = 304.8 mm, 1 square foot = 0.0929m2.

UL = Unlimited, NP = Not permitted. a. See the following sections for general exceptions to Table 503: 1. Section 504.2, Allowable height increase due to automatic sprinkler system installation.

2. Section 506.2, Allowable area increase due to street frontage.

3. Section 506.3, Allowable area increase due to automatic sprinkler system installation.

4. Section 507, Unlimited area buildings. b. For open parking structures, see Section 406.3. c. For private garages, see Section 406.1. d. See Section 415.5 for limitations.

503.1 General. The height and area for buildings of different construction types shall be governed by the intended use of the building and shall not exceed the limits in Table 503 except as modified hereafter. Each part of a building included within the exterior walls or the exterior walls and fire walls where provided shall be permitted to be a separate building.

503.1.1 Special industrial occupancies. Buildings and structures designed to house special industrial processes that require large areas and unusual heights to accommodate craneways or special machinery and equipment, including, among others, rolling mills; structural metal fabrication shops and foundries; or the production and distribution of electric, gas or steam power, shall be exempt from the height and area limitations of Table 503.

503.1.2 Buildings on same lot. Two or more buildings on the same lot shall be regulated as separate buildings or shall be considered as portions of one building if the height of each building and the aggregate area of buildings are within the limitations of Table 503 as modified by Sections 504 and 506. The provisions of this code applicable to the aggregate building shall be applicable to each building.

503.1.3 Type I construction. Buildings of Type I construction permitted to be of unlimited tabular heights and areas are not subject to the special requirements that allow unlimited area buildings in Section 507 or unlimited height in Sections 503.1.1 and 504.3 or increased height and areas for other types of construction.

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SECTION 508 MIXED USE AND OCCUPANCY SECTION 509 SPECIAL PROVISIONS

PART 5 |Zoning Regulations Figure 91 |

Parking Structures

509.1 General.

509.2 Group S-2 enclosed or open parking garage with Group A, B, M, R or S above.

509.3 Group S-2 enclosed parking garage with Group S-2 open parking garage above.

509.4 Parking beneath Group R. 509.5 Group R-2 buildings of Type IIIA construction.

509.6 Group R-2 buildings of Type IIA construction.

509.7 Open parking garage beneath Groups A, I, B, M and R. 509.8 Group B or M with Group S-2 open parking garage above.

509.1 General.

509.2 Group S-2 enclosed or open parking garage with Group A, B, M, R or S above.

509.3 Group S-2 enclosed parking garage with Group S-2 open parking garage above.

509.4 Parking beneath Group R. 509.5 Group R-2 buildings of Type IIIA construction.

509.6 Group R-2 buildings of Type IIA construction.

509.7 Open parking garage beneath Groups A, I, B, M and R. 509.8 Group B or M with Group S-2 open parking garage above.

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SECTION 509 SPECIAL PROVISIONS 509.1 General. The provisions in this section shall permit the use of special conditions that are exempt from, or modify, the specific requirements of this chapter regarding the allowable heights and areas of buildings based on the occupancy classification and type of construction, provided the special condition complies with the provisions specified in this section for such condition and other applicable requirements of this code.

509.2 Group S-2 enclosed or open parking garage with Group A, B, M, R or S above. A basement and/or the first story above grade plane of a building shall be considered as a separate and distinct building for the purpose of determining area limitations, continuity of fire walls, limitation of number of stories and type of construction when all of the following conditions are met: 1. The basement and/or the first story above grade plane is of Type IA construction and is separated from the building above with a horizontal assembly having a minimum 3-hour fire-resistance rating.

2. Shaft, stairway, ramp or escalator enclosures through the horizontal assembly shall have not less than a 2-hour fire-resistance rating with opening protectives in accordance with Table 715.4.

Exception: Where the enclosure walls below the horizontal assembly have not less than a 3-hour fire-resistance rating with opening protectives in accordance with Table 715.4, the enclosure walls extending above the horizontal assembly shall be permitted to have a 1-hour fire-resistance rating, provided: 1. The building above the horizontal assembly is not required to be of Type I construction; 2. The enclosure connects less than four stories; and 3. The enclosure opening protectives above the horizontal assembly have a minimum 1-hour fire protection rating.

3. The building above the horizontal assembly shall be permitted to have multiple Group A uses, each with an occupant load of less than 300, or Group B, M, R or S uses.

4. The building below the horizontal assembly is a Group S-2 enclosed or open parking garage, used for the parking and storage of private motor vehicles.

Exceptions: 1. Entry lobbies, mechanical rooms and similar uses incidental to the operation of the building shall be permitted.

2. Multiple Group A uses, each with an occupant load of less than 300, or Group B or M uses shall be permitted, in addition to those uses incidental to the operation of the building (including storage areas), provided that the entire structure below the horizontal assembly is protected throughout by an approved automatic sprinkler system.

5. The maximum building height in feet shall not exceed the limits set forth in Section 503 for the building having the smaller allowable height as measured from the grade plane.

509.3 Group S-2 enclosed parking garage with Group S-2 open parking garage above. A Group S-2 enclosed parking garage located in the basement or first story below a Group S-2 open parking garage shall be classified as a separate and distinct building for the purpose of determining the type of construction when the following conditions are met: 1. The allowable area of the structure shall be such that the sum of the ratios of the actual area divided by the allowable area for each separate occupancy shall not exceed 1.0.

2. The Group S-2 enclosed parking garage is of Type I or II construction and is at least equal to the fire-resistance requirements of the Group S-2 open parking garage.

3. The height and the number of the floors above the basement shall be limited as specified in Table 406.3.5.

4. The floor assembly separating the Group S-2 enclosed parking garage and Group S-2 open parking garage shall be protected as required for the floor assembly of the Group S-2 enclosed parking garage. Openings between the Group S-2 enclosed parking garage and Group S-2 open parking garage, except exit openings, shall not be required to be protected.

5. The Group S-2 enclosed parking garage is used exclusively for the parking or storage of private motor vehicles, but shall be permitted to contain an office, waiting room and toilet room having a total area of not more than 1,000 square feet (93 m2), and mechanical equipment rooms incidental to the operation of the building.

509.4 Parking beneath Group R. Where a maximum one-story above grade plane Group S-2 parking garage, enclosed or open, or combination thereof, of Type I construction or open of Type IV construction, with grade entrance, is provided under a building of Group R, the number of stories to be used in determining the minimum type of construction shall be measured from the floor above such a parking area. The floor assembly between the parking garage and the Group R above shall comply with the type of construction required for the parking garage and shall also provide a fireresistance rating not less than the mixed occupancy separation required in Section 508.3.3.

509.5 Group R-2 buildings of Type IIIA construction. The height limitation for buildings of Type IIIA construction in Group R-2 shall be increased to six stories and 75 feet (22 860 mm) where the first-floor construction above the basement has a fire-resistance rating of not less than 3 hours and the floor area is subdivided by 2-hour fire-resistance-rated fire walls into areas of not more than 3,000 square feet (279 m2).

509.6 Group R-2 buildings of Type IIA construction. The height limitation for buildings of Type IIA construction in Group R-2 shall be increased to nine stories and 100 feet (30 480 mm) where the building is separated by not less than 50 feet (15 240 mm) from any other building on the lot and from lot lines, the exits are segregated in an area enclosed by a 2-hour fire-resistance-rated fire wall and the first-floor construction has a fire-resistance rating of not less than 11/2 hours.

509.7 Open parking garage beneath Groups A, I, B, M and R. Open parking garages constructed under Groups A, I, B, M and R shall not exceed the height and area limitations permitted under Section 406.3. The height and area of the portion of the building above the open parking garage shall not exceed the limitations in Section 503 for the upper occupancy. The height, in both feet and stories, of the portion of the building above the open parking garage shall be measured from grade plane and shall include both the open parking garage and the portion of the building above the parking garage.

509.7.1 Fire separation. Fire barriers constructed in accordance with Section 706 or horizontal assemblies constructed in accordance with Section 711 between the parking occupancy and the upper occupancy shall correspond to the required fire-resistance rating prescribed in Table 508.3.3 for the uses involved. The type of construction shall apply to each occupancy individually, except that structural members, including main bracing within the open parking structure, which is necessary to support the upper occupancy, shall be protected with the more restrictive fire-resistance-rated assemblies of the groups involved as shown in Table 601. Means of egress for the upper occupancy shall conform to Chapter 10 and shall be separated from the parking occupancy by fire barriers having at least a 2-hour fire-resistance rating as required by Section 706 with self-closing doors complying with Section 715 or horizontal assemblies having at least a 2-hour fire-resistance rating as required by Section 711, with self-closing doors complying with Section 715. Means of egress from the open parking garage shall comply with Section 406.3.

509.8 Group B or M with Group S-2 open parking garage above. Group B or M uses located in the basement or first story below a Group S-2 open parking garage shall be classified as a separate and distinct building for the purpose of determining the type of construction when all of the following conditions are met: 1. The basement or first story shall be Type I or II construction, but not less than the type of construction required for the open parking garage above. The height and area of the basement or first story shall not exceed the limitations in Section 503 for the Group B or M uses.

2. The height and area of the open parking garage shall not exceed the limitations permitted under Section 406.3. The height, in both feet and stories, of the open parking garage shall be measured from grade plane and include both the open parking garage and the basement or first story.

3. Fire separation assemblies between the open parking garage and the basement or first story use group shall correspond to the required fireresistance rating prescribed by Table 508.3.3 4. Exits serving the open parking garage shall discharge directly to a street or public way and shall be separated from the basement or first story use group by not less than 2-hour fire barriers constructed in accordance with Section 706 or 2-hour horizontal assemblies constructed in accordance with Section 711, or both, with opening protectives in accordance with Table 715.4.

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SECTION 1024 EXIT DISCHARGE SECTION 1025 ASSEMBLY SECTION 1026 EMERGENCY ESCAPE AND RESCUE

1003.1 Applicability.

1003.2 Ceiling height.

1003.3 Protruding objects.

1003.4 Floor surface.

1003.5 Elevation change.

1003.6 Means of egress continuity.

1003.7 Elevators, escalators and moving walks.

1003.1 Applicability.

1003.2 Ceiling height.

1003.3 Protruding objects.

1003.4 Floor surface.

1003.5 Elevation change.

1003.6 Means of egress continuity.

1003.7 Elevators, escalators and moving walks.

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SECTION 1003 GENERAL MEANS OF EGRESS 1003.1 Applicability. The general requirements specified in Sections 1003 through 1013 shall apply to all three elements of the means of egress system, in addition to those specific requirements for the exit access, the exit and the exit discharge detailed elsewhere in this chapter.

Figure 92 |

Means of Egress

1003.2 Ceiling height. The means of egress shall have a ceiling height of not less than 7 feet 6 inches (2286 mm).

Exceptions: 1. Sloped ceilings in accordance with Section 1208.2.

2. Ceilings of dwelling units and sleeping units within residential occupancies in accordance with Section 1208.2.

3. Allowable projections in accordance with Section 1003.3.

4. Stair headroom in accordance with Section 1009.2.

5. Door height in accordance with Section 1008.1.1.

1003.3 Protruding objects. Protruding objects shall comply with the requirements of Sections 1003.3.1 through 1003.3.4.

1003.3.1 Headroom. Protruding objects are permitted to extend below the minimum ceiling height required by Section 1003.2 provided a minimum headroom of 80 inches (2032 mm) shall be provided for any walking surface, including walks, corridors, aisles and passageways. Not more than 50 percent of the ceiling area of a means of egress shall be reduced in height by protruding objects.

Exception: Door closers and stops shall not reduce headroom to less than 78 inches (1981 mm).

A barrier shall be provided where the vertical clearance is less than 80 inches (2032 mm) high. The leading edge of such a barrier shall be located 27 inches (686 mm) maximum above the floor.

1003.3.2 Free-standing objects. A free-standing object mounted on a post or pylon shall not overhang that post or pylon more than 4 inches (102 mm) where the lowest point of the leading edge is more than 27 inches (686 mm) and less than 80 inches (2032 mm) above the walking surface. Where a sign or other obstruction is mounted between posts or pylons and the clear distance between the posts or pylons is greater than 12 inches (305 mm), the lowest edge of such sign or obstruction shall be 27 inches (685 mm) maximum or 80 inches (2030 mm) minimum above the finished floor or ground.

Exception: This requirement shall not apply to sloping portions of handrails serving stairs and ramps.

1003.3.3 Horizontal projections. Structural elements, fixtures or furnishings shall not project horizontally from either side more than 4 inches (102 mm) over any walking surface between the heights of 27 inches (686 mm) and 80 inches (2032 mm) above the walking surface.

Exception: Handrails serving stairs and ramps are permitted to protrude 4.5 inches (114 mm) from the wall.

1003.3.4 Clear width. Protruding objects shall not reduce the minimum clear width of accessible routes as required in Section 1104.

1003.4 Floor surface. Walking surfaces of the means of egress shall have a slip-resistant surface and be securely attached.

1003.5 Elevation change. Where changes in elevation of less than 12 inches (305 mm) exist in the means of egress, sloped surfaces shall be used.

Where the slope is greater than one unit vertical in 20 units horizontal (5-percent slope), ramps complying with Section 1010 shall be used. Where the difference in elevation is 6 inches (152 mm) or less, the ramp shall be equipped with either handrails or floor finish materials that contrast with adjacent floor finish materials.

Exceptions: 1. A single step with a maximum riser height of 7 inches (178 mm) is permitted for buildings with occupancies in Groups F, H, R-2 and R-3 and Groups S and U at exterior doors not required to be accessible by Chapter 11.

2. A stair with a single riser or with two risers and a tread is permitted at locations not required to be accessible by Chapter 11, provided that the risers and treads comply with Section 1009.3, the minimum depth of the tread is 13 inches (330 mm) and at least one handrail complying with Section 1012 is provided within 30 inches (762 mm) of the centerline of the normal path of egress travel on the stair.

3. A step is permitted in aisles serving seating that has a difference in elevation less than 12 inches (305 mm) at locations not required to be accessible by Chapter 11, provided that the risers and treads comply with Section 1025.11 and the aisle is provided with a handrail complying with Section 1025.13.

Any change in elevation in a corridor serving nonambulatory persons in a Group I-2 occupancy shall be by means of a ramp or sloped walkway.

1003.6 Means of egress continuity. The path of egress travel along a means of egress shall not be interrupted by any building element other than a means of egress component as specified in this chapter. Obstructions shall not be placed in the required width of a means of egress except projections permitted by this chapter. The required capacity of a means of egress system shall not be diminished along the path of egress travel.

1003.7 Elevators, escalators and moving walks. Elevators, escalators and moving walks shall not be used as a component of a required means of egress from any other part of the building.

Exception: Elevators used as an accessible means of egress in accordance with Section 1007.4.

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[ 2010 Building Code of New York State ] Chapter 5 - General Building Heights and Areas SECTION 501 GENERAL SECTION 502 DEFINITIONS SECTION 503 GENERAL HEIGHT AND AREA LIMITATIONS SECTION 504 HEIGHT SECTION 505 MEZZANINES SECTION 506 AREA MODIFICATIONS SECTION 507 UNLIMITED AREA BUILDINGS SECTION 508 MIXED USE AND OCCUPANCY SECTION 509 SPECIAL PROVISIONS

PART 5 |Zoning Regulations Figure 93 |

Area Increases due to frontage and sprinklers

506.1 General.

506.2 Frontage increase.

506.3 Automatic sprinkler system increase.

506.4 Area determination.

506.1 General.

506.2 Frontage increase.

506.3 Automatic sprinkler system increase.

506.4 Area determination.

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506.1 General. The areas limited by Table 503 shall be permitted to be increased due to frontage (If) and automatic sprinkler system protection (Is) in accordance with the following: Aa = {At + [At x If] + [At x Is]}

(Equation 5-1)

where: Aa = Allowable area per story (square feet).

At = Tabular area per story in accordance with Table 503 (square feet).

If = Area increase factor due to frontage as calculated in accordance with Section 506.2.

Is = Area increase factor due to sprinkler protection as calculated in accordance with Section 506.3.

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SECTION 1105 ACCESSIBLE ENTRANCES SECTION 1106 PARKING AND PASSENGER LOADING FACILITIES SECTION 1107 DWELLING UNITS AND SLEEPING UNITS SECTION 1108 SPECIAL OCCUPANCIES SECTION 1109 OTHER FEATURES AND FACILITIES SECTION 1110 SIGNAGE

1104.1 Site arrival points.

1104.2 Within a site.

1104.3 Connected spaces.

1104.4 Multilevel buildings and facilities.

1104.5 Location.

1104.6 Security barriers.

1104.1 Site arrival points.

1104.2 Within a site.

1104.3 Connected spaces.

1104.4 Multilevel buildings and facilities.

1104.5 Location.

1104.6 Security barriers.

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SECTION 1104 ACCESSIBLE ROUTE 1104.1 Site arrival points. Accessible routes within the site shall be provided from public transportation stops; accessible parking; accessible passenger loading zones; and public streets or sidewalks to the accessible building entrance served.

Figure 94 | Accessibility

Exception: Other than in buildings or facilities containing or serving Type B units, an accessible route shall not be required between site arrival points and the building or facility entrance if the only means of access between them is a vehicular way not providing for pedestrian access.

1104.2 Within a site. At least one accessible route shall connect accessible buildings, accessible facilities, accessible elements and accessible spaces that are on the same site.

Exception: An accessible route is not required between accessible buildings, accessible facilities, accessible elements and accessible spaces that have, as the only means of access between them, a vehicular way not providing for pedestrian access.

1104.3 Connected spaces. When a building or portion of a building is required to be accessible, an accessible route shall be provided to each portion of the building, to accessible building entrances connecting accessible pedestrian walkways and the public way.

Exception: In assembly areas with fixed seating required to be accessible, an accessible route shall not be required to serve fixed seating where wheelchair spaces or designated aisle seats required to be on an accessible route are not provided.

1104.3.1 Employee work areas. Common use circulation paths within employee work areas shall be accessible routes.

Exceptions: 1. Common use circulation paths, located within employee work areas that are less than 300 square feet (27.9 m2) in size and defined by permanently installed partitions, counters, casework or furnishings, shall not be required to be accessible routes.

2. Common use circulation paths, located within employee work areas, that are an integral component of equipment, shall not be required to be accessible routes.

3. Common use circulation paths, located within exterior employee work areas that are fully exposed to the weather, shall not be required to be accessible routes.

1104.3.2 Press boxes. Press boxes in assembly areas shall be on an accessible route.

Exceptions: 1. An accessible route shall not be required to press boxes in bleachers that have points of entry at only one level, provided that the aggregate area of all press boxes is 500 square feet (46 m2) maximum.

2. An accessible route shall not be required to free-standing press boxes that are elevated above grade 12 feet (3660 mm) minimum provided that the aggregate area of all press boxes is 500 square feet (46 m2) maximum.

1104.4 Multilevel buildings and facilities. At least one accessible route shall connect each accessible level, including mezzanines, in multilevel buildings and facilities.

Exceptions: 1. An accessible route is not required to stories and mezzanines above and below accessible levels that have an aggregate area of not more than 3,000 square feet (278.7 m2). This exception shall not apply to: 1.1. Multiple tenant facilities of Group M occupancies containing five or more tenant spaces; 1.2. Levels containing offices of health care providers (Group B or I); or 1.3. Passenger transportation facilities and airports (Group A-3 or B).

2. In Group A, I, R and S occupancies, levels that do not contain accessible elements or other spaces required by Section 1107 or 1108 are not required to be served by an accessible route from an accessible level.

3. In air traffic control towers, an accessible route is not required to serve the cab and the floor immediately below the cab.

4. Where a two-story building or facility has one story with an occupant load of five or fewer persons that does not contain public use space, that story shall not be required to be connected by an accessible route to the story above or below.

1104.5 Location. Accessible routes shall coincide with or be located in the same area as a general circulation path. Where the circulation path is interior, the accessible route shall also be interior. Where only one accessible route is provided, the accessible route shall not pass through kitchens, storage rooms, restrooms, closets or similar spaces.

Exceptions: 1. Accessible routes from parking garages contained within and serving Type B dwelling units are not required to be interior.

2. A single accessible route is permitted to pass through a kitchen or storage room in an Accessible, Type A or Type B dwelling unit.

1104.6 Security barriers. Security barriers including, but not limited to, security bollards and security check points shall not obstruct a required accessible route or accessible means of egress.

Exception: Where security barriers incorporate elements that cannot comply with these requirements, such as certain metal detectors, fluoroscopes or other similar devices, the accessible route shall be permitted to be provided adjacent to security screening devices. The accessible route shall permit persons with disabilities passing around security barriers to maintain visual contact with their personal items to the same extent provided others passing through the security barrier.

Top Previous Section Next Section To view the next subsection please select the Next Section option.

COPYRIGHT 2007 by INTERNATIONAL CODE COUNCIL

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Part

6

Design Process

Sketches Development

Design Development

PART 6 |

Initial Sketches

Figure 95 |

Initial Site Sketches

Figure 96 |

Initial Building Sketch

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In beginning to think about the design for this building, it was important to consider the public aspect. Without people being involved, there would be no art appreciation and without art appreciation, there would be no need for this project. Consideration of the public use of the building, both internally and externally, was important to developing how this building would function as a unit.

The site itself would end up being a huge factor in how this building would develop.

The necessity of a master-plan emerged. This would not nly further develop the site plan but allow the arts to have a wider impact in the surrounding area. The development of an arts district would have a huge impact on how people respond to the arts in an urban setting.

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PART 6 |

Developing the Master-Plan

Figure 102 | Building Sequencing Sketch

Figure 103 | Scope of work Sketch

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Figure 104 | Art Walk Perspective Sketch The initial perceptions of the art walk show the building as a subservient player in the grand scheme of things. Everything is given an equal importance in how the elements are perceived

Figure 105 | Art Walk Perspective Sketch In moving forward, the elements of the walk begin to change. The building should gain mor eprominence and be a competing player in the walk. The elements should all work together to create something cohesive and inviting

Figure 106| Building Axonometric Sketch In visualizing the building itself, the idea of separating the theatre as a separate element had promise. By separating it from the mass of the building, the form could become more dynamic and allow for a simple, clear division of the site

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PART 6 |

Developing the Master-Plan & Finalized Program

Figure 99 |

Building form sketch with site

Figure 97 |

Building form sketch with site

Figure 100 |

Building form sketch with site

Figure 98 |

Building form sketch with site

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Figure 101 |

Building form sketch with site

Music and Arts Center Category

Typology

Space

#

SqFt

Total

Public

General

Lobby

1

2000

2000

Food

Retail

Office

3

120

360

Museum

1

4000

4000

Cafe

1

2000

2000

Restaurant

1

5000

5000

Kitchen

1

400

400

Art Shop

1

400

400

Music Shop

1

404

404 14564

Art

Educational

Classroom Space

3

600

1800

Painting

Sculpture Studio

1

1200

1200

Sculpture

Ceramics Studio

1

1200

1200

Drawing

Offices

2

150

300

Materials Storage

1

600

600

Props Storage

1

200

200

Art Studio Rental

8

400

3200

Work Space

2

1000

2000

Gallery

1

3000

Service Public

3000 13500

Music

Educational

Solo Practice Room

10

150

1500

Classical

Group Practice Space

4

600

2400

Jazz

Classroom Space

3

600

1800

Rock

Offices

2

150

300 800

Service Public Function

Instrument Storage

2

400

Instrument Repair

1

200

200

Rehearsal Space

1

3000

3000

Green Room

1

600

600

Performance Hall

1

4000

4000

Recording Studio

1

600

600

Recording Booth

1

200

200

Performance venue

1

800

800 16200

Services

Boiler Room

1

TBD

TBD

Fan Room

5

TBD

TBD

Electrical Room

1

150

150

Custodian Closet

4

90

360

Custodian Office

1

150

150

Security Office

1

150

150

Server Room

1

100

100 910

Total Net Total Gross

45174 Multiplier x 1.6

72278.4 *Multiplier accounts for gathering/storage/mechanical

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PART 6 |

Conceptual Review

Figure 107 | Conceptual Design Review Option 1 Figure 108 | Conceptual Design Review Option 1 Model This first design focuses on the building as two masses which filter the people on the art walk through a bridge condition, activating the site in several smaller spaces

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Figure 109 | Conceptual Design Review Option 2 Figure 110 | Conceptual Design Review Option 2 Model The second design pushes the building to the edge of Franklin Street. This creates a large front court, allowing a more open feeling to occur

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PART 6 |

Further Development

Figure 111 | Building Facade Studies

Figure 112 | Building Facade Studies

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Figure 113 | Wall Section Sketch Developing the structural system would be simple steel post and beam construction. The portion that posed an issue would be the glass circulation piece that would have an exposed structural system.

Figure 114 | Connection Detail Sketches The circulation piece would have exposed HSS pipes which would connect to a large beam running around the top of the enclosure. A structural mullion system would support the roof and the vertical system would tie back to the columns. The mullions on the roof would act as gutters, eliminating the need for a large gutter system at the roof’s edge.

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PART 6 |

Further Development

101 Buffalo, NY | Fine Arts Center

In looking at the project after the conceptual review, it became clear that a good site response was key to developing this project past the conceptual phase. The introduction of certain master planning elements such as the introduction of housing blocks, retail stores and site elements helped to activate what was previously solid pavement.

The idea was introduced that in order to create a walking city, the concept of complete streets should be embraced. Complete streets are the development of

Figure 115 | Sketch Model

streetscapes to create walkable roads while reducing the urban heat island effect. These streetscapes are carefully planned in order to create a level of biodiversity as well as providing for the people using the streets. The emphasis is take off of the cars and placed on the people using the roads.

The building form proved to be a challenge as well.

As seen in figures 115-117, the relationship of the circulation piece to the remaining building masses was a large part of the design process. The difficulty of doing this was that the glass piece needed to compete

Figure 116 | Sketch Model

for heirarchy with the rest of the building while refraining from becoming too large of an expanse. This building should have a presence while still maintainign the human scale.

Part of the problem that exists in the circulation pathway is program. This area is an extension of the learning center and acts as a gallery for displaying the artwork produced in the building. The goal for this building is to create a workable space that has a draw for the surrounding area and tourists.

Figure 117 |

Sketch Model

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PART 6 |

Gate Review

Figure 118 | Gate Presentation Spread

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Figure 119-122 | 3D Printed Study Model

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Part

7

Final Production Conclusion

PART 7 |

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108

PART 7 |

Final Product

The development of the final building product was a difficulty in itself. The project required the right balance of focus on the site work that was done as well as on the building itself. Detailwork needed to be shown in a clear and concise way and the presentation itself needed to flow together to accurately depict how the project came to fruition.

The art walk itself developed into a clear pathway that carried the user through all aspects of the site.

Research and development led to the resolution of the spaces during all times of the year. This is most prominent in the amphitheatre court where in the warmer months, the space would host outdoor concerts, Shakespeare in the Park, etc. and in the colder months would be converted to an outdoor skating rink.

The idea for the site was to create a draw for people who may not even be that interested in the arts and allow them to experience the arts culture in a familiar setting whether that is through ice skating, shopping at the vendor stalls or attending a festival that is hosted on site.

The building reflects these values. The public areas are open and accessible and the private areas maintain a connection with the more open spaces.

The building has an array of program which allows for many types of people to appreciate the arts in their own way. This could be by taking classes, attending a performance, going to the museum or simply walking through the gallery. Even those simply going to the restaurant will pass by all of the artwork and can appreciate it in their own way.

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PART 7 |

Final Product

Figure 123 |

West Chippewa Street

Site Plan

Figure 124 |

Program Diagram

111 Buffalo, NY | Fine Arts Center

Main Street

Pearl Street

Franklin Street

Tupper Street

200'

Figure 125 |

Massing Diagram

100'

50'

25'

10'

1'0'

Figure 126 | The glass circulation piece is a defining character of the building. Highlighting the circulation, it ensures that there is a visual and metaphorical connection between all elements of the building.

Figure 127 | The floor plates are important in understanding how the building comes together. The building is fairly simple in orgnaization in both masses and proceeds to break away from the norm in the public areas.

Figure 128 | The skin of the building allows for the expression of form to come into play. Molding around the programmatic spaces while simultaneously bridging the height differential in the neighborhood, all the while incorporating the dynamic forms from the plan give the building a unique physical character.

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PART 7 |

Final Product

Aerial Perspective

Passageway Existing covered walkway connecting to the Theatre District on Main Street leading into a gathering plaza which can house performance based arts and public events Rooftop Terrace Connects to Internal Restaurant and provides panoramic view back towards the city

Amphitheatre Worked into the form of the building, this space provides a sunny outdoor space for people and can house events such as concerts, Summer Theatre as well as skating in the Winter

Proposed Housing Housing in the downtown area will provide a means through which to reduce urban sprawl Vendor Booths Built into surrounding walls, these booths can house vendors, performance artists or a resting place for people walking through the art walk

Art Walk Former alley condition to be transformed into an art walk which will feature wall art, art galleries, vendors and other similar functions

Double Facades The art walk allows for shopd and restaurants on the surrounding streets to have a second facade which will increase traffic in their respective stores

Gateway Garden Marking the entry point to the art walk on the southern streetfront is a public garden, introducing much needed green space into the urban fabric

Rendered Site Plan

Figure 129 | Rendered Site Plan This diagram defines the different aspects that run along the art walk. Connections East Elevation 1/16� = 1’ and implementations are more clearly defined and presented.

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Figure 130 |

West Elevation

Figure 131 |

North Elevation

Figure 132 |

East Elevation

Figure 133 |

South Elevation Buffalo, NY | Fine Arts Center

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PART 7 |

Final Product

Figure 134 | First Floor Plan This floor contains the majority of the learning center, loading and service spaces as well as the preformance hall.

115 Buffalo, NY | Fine Arts Center

Figure 135 | Snow Rendering This image depicts the reality of a Buffalo winter. This building acts as a lantern, drawing people in from the cold.

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PART 7 |

Final Product

Air Handler 1

Air Handler 2

Figure 136 | Second Floor Plan This floor contains the remaining learning center program with the studio rentals and the ceramics and sculpture studios. The mezzanine of the performance hall is on this level as well.

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Figure 137 | Circulation Pathway Render This image depicts the activation of the interior space as an art piece in itself . The play of light is especially prominent in this space.

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Final Product

Air Handler 4

Air Handler 3

PART 7 |

Figure 138 | Third Floor Plan This floor contains the lower level of the museum as well as administrative offices for the whole building. A cafe space exists above the performance hall.

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Figure 139 | Art Walk Render This image shows the activity that can exist on a given day in the art walk. Stalls exist for vendors to seel their goods and bands can set up shop in these areas as well.

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PART 7 |

Final Product

Air Handler 5

Figure 140 | Fourth Floor Plan This floor contains the upper level of the museum as well as the first floor of the restaurant.

This is the top level of the circulation form.

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Figure 141 | Front Court Night Render This image shows the paved front courtyard on a festival night. Activities can be spread out through the complex and the main facade of the building block can double as a projection screen at night.

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PART 7 |

Final Product

Figure 142 | Fifth Floor Plan This floor contains the top level of the restaurant as well as an outdoor terrace which provides a view back towards the city.

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Figure 143 | Roof Terrace Render This image shows the roof terrace looking back on the downtown area. This space can be used as additional seating for the restaurant or as a viewing platform for the rest of the building.

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PART 7 |

Final Product

Figure 144 | Parking Layout The parking garage for this building doubles as a basement as well. Storage for the restaurant as well as mechanical spaces for the building are incorporated into this portion of the building. Access from the parking garade to the building is direct and doesn;t require an exterior connection. Access to the garage is on the Northeast corner of the site.

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Figure 145 | Courtyard render from housing

Figure 146 | Render of restaurant dining room

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PART 7 |

Final Product

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Buffalo, NY | Fine Arts Center

128

PART 7 |

Final Product

Figure 147 | Site Model Photo

Figure 148 | Section Through Building Block

129 Buffalo, NY | Fine Arts Center

Figure 149 | Site Model Photo

Figure 150 | Section Through Performance Hall Buffalo, NY | Fine Arts Center

130

PART 7 |

Final Product

Figure 151 | Structural Axonometric The structure for this building follows a simple post and beam steel system with cross bracing in the circulation shafts as well as in the solid portions fo the facade.

The exterior shell of the performance hall is a space frame with panelized cladding on it and the performance hall mass is a concrete bearing system with a waffle slab Facade Excerpt above.Parking Layout

Restaurant Air Handler Unit Cooling Towers

Museum Air Handler Unit Studio/Office Air Handler Unit Performance SPace Air Handler Unit Learning Center Air Handler Unit Boiler and Chilled Water Plant

Mechanical Axonometric

Figure 152 | Mechanical Axonometric The mechanical system for this building is a VAV forced air system. Due to the large and varied nature of the program, each programmatic element has its own fan room.

A boiler and chilled water plant exist in the basement of the building and Section AB 1/16� = 1’ cooling towers are carved into the roof plane on the larger building mass.

131 Buffalo, NY | Fine Arts Center

Figure 153 | Wall Section through Bridge

Figure 154 | Wall Section through Restaurant Buffalo, NY | Fine Arts Center

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PART 7 |

Conclusion

133 Buffalo, NY | Fine Arts Center

Throughout the design of this project, it became more and more clear that this was a worthwhile problem to look into. Architecture and the arts are intrinsically linked which makes architecture a worthwhile vessel through which to express art.

Through the development of the master plan, it began to make sense how other projects and cities structured their plans and why some worked so well while others simply did not.

In this project, with the inclusion of the art walk, the public space became essential to the success of the building. Public space is necessary, especially in the arts in order to develop a project into one that people will actually use.

This project has thoroughly been a learning experience and has inspired throught and contemplation on how architecture can solve a problem. Architecture is a powerful force and designers need to be aware how to embrace this power.

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PART 1 |

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Part

8

List of Figures Bibliography

PART 8 |List of Figures Cover

“Cuomo Announces State Investment of $225 Million Toward the Buffalo High-Tech Manufacturing Innovation Hub.” Hodgson Russs Clean and Green Law. Accessed December 27.

Page 2-3

"Photos." Buffalo. Accessed October 19, 2015.

Figure 1

"Like Notes on a Pentagram: Eka Sharashidze's Wall People." SOCKS. February 17, 2014. Accessed October 19, 2015.

Figure 2

Accessed October 19, 2015. http://www.architonic.com/pmabt/ vange/3100824.

Figure 3

“Images New York times Square at Night.” Images New York times Square at Night. Accessed December 27, 2015. http://www.maguzz.com/new-yorktimes-square-at-night.html.

Figure 4

“All Majors & Programs.” All Majors & Programs. Accessed January 9, 2016. https://www.cornerstone.edu/academics/undergrad/all-majors-andprograms/.

Figure 5

Postian, Bradley D. Wellesley Music. December, 2015. Wellesley, MA.

Page 6

“Street Artist Captures How It Feels When “Nobody Likes You” On Instagram.” The Source. February 26, 2014. Accessed December 27, 2015.

Figure 6

Postian, Bradley D. Brewster PAC. June, 2011. Brewster, NY.

Figure 7

Smith, Tom. The Wind Ensemble. April, 2011. Virginia Beach, VA.

Figure 8

Luiso, Angela. Avenue Q. August 2011. Brewster, NY.

Figure 9

“News.” Surprising Findings in Three New NEA Reports on the Arts.

Accessed January 2, 2016. https://www.arts.gov/news/2015/surprisingfindings-three-new-nea-reports-arts.

Figure 10

“Downtown Spokane Street Musician Bryson Andres.” YouTube. Accessed January 9, 2016. https://www.youtube.com/watch?v=YPYGeELPpno.

Figure 11

Adam, Romanowicz. “3scape Photos.” Street Performer Showing off Fire Ropes Photograph. Accessed January 9, 2016. http://3scape.com/pic/5581/ Street-performer-showing-off-fire-ropes.

Figure 12

“3D Chalk Art - Amazing Sidewalk Drawings - Mind Blowing Street Artists.” YouTube. Accessed January 9, 2016. https://www.youtube.com/ watch?v=FBvstPVU4-c.

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Figure 13-15 “Art and Happiness: New Research Indicates 4 out of 6 Happiest Activities Are Arts-related (!).” New Beans. December 2, 2011. Accessed January 9, 2016. http://www.artsjournal.com/newbeans/2011/12/art-and-happinessnew-research-indicates-4-out-of-6-happiest-activities-are-arts-related. html.

Figure 16-18 “The 4 Ways Sound Affects Us.” Julian Treasure:. Accessed January 9, 2016. https://www.ted.com/talks/julian_treasure_the_4_ways_sound_affects_ us?language=en#t-259698.

Figure 19-21 “More Than Just Frozen Music: Architecture Sound.” Architizer. October 25, 2013. Accessed January 9, 2016. http://architizer.com/blog/more-thanfrozen-music-architecture-sound/.

Figure 22

“Commercial Archives - Page 4 of 4 - Architecture Art Designs.” Architecture Art Designs. Accessed January 9, 2016. http://www.architectureartdesigns. com/category/architecture/commercial/page/4/.

FIgure 23

“A Wooden Wave Made from 9076 Individual Parts.” Visual News.

September 15, 2014. Accessed January 9, 2016. http://www.visualnews. com/2014/09/15/wooden-wave-made-9076-individual-parts/.

Figure 24

“Graffiti and Architecture - Together in a Modern Building.” Art Cocktail RSS. Accessed January 9, 2016. http://artcocktail.mallforarts.com/2012/07/ graffiti-and-architecture-together-in-a-modern-building/.

Figure 25-32“Incontro Con Le Scuole Superiori Di Roma - Auditorium - Fondazione Museo Della Shoah.” Fondazione Museo Della Shoah. Accessed October 20, 2015.

Page 32

“Incontro Con Le Scuole Superiori Di Roma - Auditorium - Fondazione Museo Della Shoah.” Fondazione Museo Della Shoah. Accessed October 20, 2015.

Figure 33-40“Norwegian National Opera and Ballet – Snøhetta.” Norwegian National Opera and Ballet – Snøhetta. Accessed January 10, 2016. http://snohetta. com/project/42-norwegian-national-opera-and-ballet.

Page 36

“Teatro De Ãpera E Ballet Da Noruega, Oslo Opera House, Operahuset , O Telhado Foi Construído De Modo a Permitir Caminhar Sobre Ele.” Panoramio. Accessed January 10, 2016.

Figure 41-44 “Richard Meier & Partners Architects LLP.” Richard Meier Partners Architects The Getty Center Comments. Accessed October 20, 2015.

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PART 8 |List of Figures Page 40

“Richard Meier & Partners Architects LLP.” Richard Meier Partners Architects The Getty Center Comments. Accessed October 20, 2015.

Figure 45-47“NCMA - North Carolina Museum of Art.” NCMA - North Carolina Museum of Art. Accessed January 10, 2016. http://ncartmuseum.org/.

Page 42

“NCMA - North Carolina Museum of Art.” NCMA - North Carolina Museum of Art. Accessed January 10, 2016. http://ncartmuseum.org/.

Page 44

Postian, Bradley D. Shea’s Buffalo. January 2016. Buffalo, NY.

Figure 48

“Australian Museum.” Stage One: Transformation -. Web. 20 Oct. 2015.

Figure 49

“OCTOBER GALLERY SPACE HIRE.” OCTOBER GALLERY SPACE HIRE. Web. 20 Oct. 2015.

Figure 50

“Alhambra Palace Restaurant.” 10Best. Accessed January 10, 2016. http:// www.10best.com/destinations/illinois/chicago/west-loop/nightlife/ alhambra-palace-restaurant/.

Figure 51

Accessed October 20, 2015. http://4.bp.blogspot.com/-BL-GwZuq6tw/ T1USABkTSII/AAAAAAAADcE/AfmdcNSKQ5M/s400/DSC_0239.JPG.

Figure 52

“Reed College.” Reed College. Accessed January 10, 2016. http://www.reed. edu/performing_arts/.

Figure 53

“Roy Lichtenstein Residence and Studio by Caliper Studio.” Dezeen Roy Lichtenstein Residence and Studio by Caliper Studio Comments. March 29, 2013. Accessed January 10, 2016.

Figure 54

“Open Studio Project // Art Can Change Everything // Adult and Child Workshops and Classes in Evanston Illinois.” Open Studio Project // Art Can Change Everything // Adult and Child Workshops and Classes in Evanston Illinois. Accessed January 10, 2016.

Page 54

Postian, Bradley D. Plaza of the Stars. January 2016. Buffalo, NY.

Figure 55

Postian, Bradley D. New York State. Illustrator. October 2015.

Figure 56

Postian, Bradley D. Buffalo, NY. Illustrator. October 2015.

Page 57

“Upswing in Downtown Lets Buffalo Place Thrive - The Buffalo News.” Www. buffaloNews.com. Accessed January 13, 2016. http://www.buffalonews. com/business/upswing-in-downtown-lets-buffalo-place-thrive-20151028.

141 Buffalo, NY | Fine Arts Center

Figure 57

“1805 Buffalo Map.” 1805 Buffalo Map. Accessed January 15, 2016. http:// www.buffaloah.com/h/maps/1805.html.

Figure 58

“University at Buffalo Libraries.” Zoning Map. Accessed January 15, 2016. http://library.buffalo.edu/maps/buffalo-wnymaps/type/zoning.html.

Figure 59

“You Don’t Really Need Growth to Generate Sprawl.” You Don’t Really Need Growth to Generate Sprawl. Accessed January 15, 2016.

Figure 60

Gnipael, G. Population Decline. Public Domain.

Figure 61

Postian, Bradley D. Diversity in Buffalo. Excel. October 2015.

Figure 62

Postian, Bradley D. Transportation in Buffalo. Excel. October 2015.

Page 61

“Things to Do in Buffalo & Niagara Falls | Visit Buffalo Niagara.”

Visit Buffalo Niagara. Accessed January 13, 2016. http://www. visitbuffaloniagara.com/see-do/.

Figure 63-66“Land Use Plan.” Accessed January 15, 2016. http://buffalogreencode.com/ October2015/lup_web.pdf.

Page 65

“Aerial Buffalo, NY Fall 2015.” Imgur. Accessed January 15, 2016. http:// imgur.com/RRcGjNh.

Page 66

Kowsky, Francis R. Buffalo Architecture: A Guide. Cambridge, Mass.: MIT Press, 1981.

Page 67

“Land Use Plan.” Accessed January 15, 2016. http://buffalogreencode.com/ October2015/lup_web.pdf.

Figure 67-68 “Index of /rel2/geog100-UW/MEDIA/Cartography.” Index of /rel2/ geog100-UW/MEDIA/Cartography. Accessed January 15, 2016. http://staff. washington.edu/rel2/geog100-UW/MEDIA/Cartography/.

Figure 69

Postian, Bradley D. Psychrometric Charts. Climate Consultant. October 2015.

Page 69

“Weather: A Four-Season Region.” - University at Buffalo. Accessed January 15, 2016. http://www.buffalo.edu/about_ub/the-buffalo-niagararegion/a_four-season_region1.html.

Figure 70-71 “Art Itinerary - Visit Buffalo Niagara.” Visit Buffalo Niagara. Accessed January 15, 2016. http://www.visitbuffaloniagara.com/itinerary/art/.

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PART 8 |List of Figures Figure 72

Postian, Bradley D. South from Main. January 2016. Buffalo, NY.

Figure 73

Postian, Bradley D. Informational Map. January 2016. Buffalo, NY.

Figure 74

Postian, Bradley D. Theatre District. January 2016. Buffalo, NY.

Figure 75

Postian, Bradley D. Tram Tracks. January 2016. Buffalo, NY.

Figure 76

Postian, Bradley D. Blade and Pediment. January 2016. Buffalo, NY.

Figure 77

Postian, Bradley D. Interior Lobby. January 2016. Buffalo, NY.

Figure 78

Postian, Bradley D. Theatre Interior. January 2016. Buffalo, NY.

Figure 79

“Buffalo Urban Renewal Agency(BURA).” - City of Buffalo. Accessed January 15, 2016. https://www.ci.buffalo.ny.us/Home/City_Departments/ BURA.

Figure 80 Figure 81 Figure 82 Figure 83 Figure 84 Figure 85 Figure 86 Figure 87

Figure 88 Figure 8794 Page 92

“Music Is Art.” Accessed January 15, 2016. http://www.musicisart.org/.

Postian, Bradley D. Sunday Site. January 2016. Buffalo, NY. Postian, Bradley D. Monday Site. January 2016. Buffalo, NY. Postian, Bradley D. Circulation DIagram. Illustrator. January 2016.

Postian, Bradley D. Site Relationship DIagram. Illustrator. January 2016.

Postian, Bradley D. Access DIagram. Illustrator. January 2016.

Postian, Bradley D. Land Use DIagram. Illustrator. January 2016.

Accessed January 18, 2016. http://gis2.erie.gov/Geocortex/Essentials/ REST/TempFiles/Parcel Report.pdf?guid=58fcd279-7b1c-4ff5-a647-2d4e2ae b5309&contentType=application/pdf.

Accessed January 18, 2016. http://www.buffalogreencode.com/ documents/2011_Buffalo_Zoning_Ordinance.pdf.

Building Code of New York State. Washington, DC: International Code Council ;, 2007.

Postian, Bradley D. Buffalo Collage. January 2016. Bristol, RI.

Figure 95106 Postian, Bradley D. Process Sketches. January-February 2016. Bristol, RI.

143 Buffalo, NY | Fine Arts Center

Figure 107 Figure 108 Figure 109 Figure 110

Postian, Bradley D. Design Option Spread 1. January 2016. Bristol, RI. Postian, Bradley D. Design Option Model 1. January 2016. Bristol, RI. Postian, Bradley D. Design Option Spread 2. January 2016. Bristol, RI. Postian, Bradley D. Design Option Model 2. January 2016. Bristol, RI.

Figure 111Postian, Bradley D. Design Process Sketches. March 2016. Bristol, RI. 114 Page 104

Postian, Bradley D. Site Design Sketch. March 2016. Bristol, RI.

Figure 115Postian, Bradley D. Sketch Model. March 2016. Bristol, RI. 117 Figure 118

Postian, Bradley D. Gate Presentation Spread. April 2016. Bristol, RI.

Figure 119Postian, Bradley D. Gate Study Model. April 2016. Bristol, RI. 122 Page 108 Page 110111 Page 113 Figure 123

Postian, Bradley D. Final Model. May 2016. Bristol, RI. Postian, Bradley D. Final Presentation Spread. May 2016. Bristol, RI. Postian, Bradley D. 3D Model Overview. Sketchup. May 2016. Bristol, RI. Postian, Bradley D. Site Plan. AutpCAD. May 2016. Bristol, RI.

Figure 124Postian, Bradley D. Diagrams. Sketchup. May 2016. Bristol, RI. 125 Figure 126Postian, Bradley D. Final Model Photos. May 2016. Bristol, RI. 128 Figure 129

Postian, Bradley D. Rendered Site Plan. May 2016. Bristol, RI.

Figure 130133 Postian, Bradley D. Rendered Elevations. May 2016. Bristol, RI. Figure 134 Figure 135

Postian, Bradley D. First Floor Plan. AutoCAD. May 2016. Bristol, RI. Postian, Bradley D. Rendering. Photoshop. May 2016. Bristol, RI. Buffalo, NY | Fine Arts Center

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PART 8 |List of Figures Figure 136 Figure 137 Figure 138 Figure 139 Figure 140 Figure 141 Figure 142 Figure 143 Figure 144

Postian, Bradley D. Second Floor Plan. AutoCAD. May 2016. Bristol, RI. Postian, Bradley D. Rendering. Photoshop. May 2016. Bristol, RI. Postian, Bradley D. Third Floor Plan. AutoCAD. May 2016. Bristol, RI. Postian, Bradley D. Rendering. Photoshop. May 2016. Bristol, RI. Postian, Bradley D. Fourth Floor Plan. AutoCAD. May 2016. Bristol, RI. Postian, Bradley D. Rendering. Photoshop. May 2016. Bristol, RI. Postian, Bradley D. Fifth Floor Plan. AutoCAD. May 2016. Bristol, RI. Postian, Bradley D. Rendering. Photoshop. May 2016. Bristol, RI. Postian, Bradley D. Parking Plan. AutoCAD. May 2016. Bristol, RI.

Figure 145146 Postian, Bradley D. Renderings. Photoshop. May 2016. Bristol, RI. Page 130131 Figure 147 Figure 148 Figure 149 Figure 150 Figure 151 Figure 152

Postian, Bradley D. Section Perspective. Photoshop. May 2016. Bristol, RI. Postian, Bradley D. Site Model. May 2016. Bristol, RI. Postian, Bradley D. Section A. ArchiCAD. May 2016. Bristol, RI. Postian, Bradley D. Site Model. May 2016. Bristol, RI. Postian, Bradley D. Section B. ArchiCAD. May 2016. Bristol, RI. Postian, Bradley D. Structural Axonometric. Sketchup. May 2016. Bristol, RI. Postian, Bradley D. Mechanical Axonometric. Sketchup. May 2016. Bristol, RI.

Figure 153154 Postian, Bradley D. Wall Sections. ArchiCAD. May 2016. Bristol, RI. Page 136

Postian, Bradley D. Site Model Overview. May 2016. Bristol, RI.

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“Lake-effect Snow Storm Hits Buffalo, New York.” ABC11 Raleigh-Durham.

Accessed January 16, 2016. http://abc11.com/weather/lake-effectsnowstormhits-buffalo-new-york/401553/. ”Lake Erie Sunset from Buffalo NY 4-15-15 [OC] [5312x2988] • /r/ GreatLakesPics.” Reddit. Accessed January 16, 2016. https://www.reddit. com/r/GreatLakesPics/comments/32zoqf/lake_erie_sunset_from_ buffalo_ny_41515_oc/.

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PART 8 |Annotated Bibliography “Buffalo History Index.” Buffalo History Index. Accessed January 18, 2016. http:// www.buffaloah.com/h/histindex.html.

This website offers a comprehensive history of the city of Buffalo, NY. It offers detailed pages on many points of Buffalo’s extensive history. There is a year by year breakdown as well as significant points in time. There are detailed pages on the Theatre District as well as Shea’s Buffalo Theatre.

Gleaton, Kristina. “Power to the People: Street Art as an Agency for Change.”

August 1, 2012. Accessed January 10, 2016.

In this graduate thesis, Gleaton looks at the power of street art and the role it plays in society. She looks at numerous cities to see how trends and methods develop and analyzes the impact that art has on its context. Whether street art has the ability to make a difference or not.

“Incontro Con Le Scuole Superiori Di Roma - Auditorium - Fondazione Museo Della Shoah.” Fondazione Museo Della Shoah. Accessed October 20, 2015.

This website is the dedicated site for the museum housed within the complex. It describes the role of the museum in the building as well as how the use of the building is organized. It describes the ruins discovered during construction and how that was designed into the complex, incorporating portions of the artifacts found into the exhibits.

Lord, Clayton.“Art and Happiness: New Research Indicates 4 out of 6 Happiest Activities Are Arts-related (!).” New Beans. December 2, 2011. Accessed January 9, 2016.

This article focuses on a project called the Mappiness Project. The author goes into the project due to his findings that four out of the six happiest recorded activities were art based. The author goes into how the study was conducted and expands on the other types of research that stem from this study.

“Mission Statement.” - City of Buffalo. Accessed January 18, 2016. https:// www.ci.buffalo.ny.us/Home/City_Departments/BURA/MissionStatement.

This website dictates the mission statement of BURA as well as outlines their belief values and bylaws. It goes through what the organization may and may not do in terms of assisting with the establishment of a project.

“MusicisArt.” Accessed January 18, 2016. http://www.musicisart.org/.

Music is Art is a nonprofit set up by Goo Goo Dolls bassist, Robby Takac. This nonforprofit is passionate about creating music and inciting interest in people of all generations. They will be valuable in gaining public support for the project.

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“NCMA - North Carolina Museum of Art.” NCMA - North Carolina Museum of Art. Accessed January 10, 2016. http://ncartmuseum.org/.

This website for the NCMA has information on its collections, the use of the building, functions, facilities as well as events. The site also goes into the addition and the works housed in it. The building has received much acclaim, appearing around the same time as Frank Gehry’s Guggenheim in Bilbao.

“News.” Surprising Findings in Three New NEA Reports on the Arts. Accessed January 2, 2016. https://www.arts.gov/news/2015/surprising-findingsthree-new-nea-reports-arts.

“Three reports from the National Endowment for the Arts reveal new findings about the impact of arts and cultural industries on GDP, as well as how and why Americans participate in certain arts activities. The data for the three reports is all from 2012, so for the first time the NEA can show a comprehensive view of a single year in the life of the arts and cultural sector from three different angles: supply, demand, and motivations for consumer behavior. The new information will help arts providers and others more effectively understand and develop strategies to engage individuals and communities in the arts.”

“Richard Meier & Partners Architects LLP.” Richard Meier Partners Architects The Getty Center Comments. Accessed October 20, 2015.

This article describes a conversation between Frank Gehry and the interviewer.

Gehry talks about the problems encountered on the project, the goals and intentions behind the building as well as the end result. He goes into the dynamic of the relationship with the Getty Foundation and his experiences with the people there. He goes into great detail on how the exhibits were designed to coexist with the artwork.

TED Talk.“The 4 Ways Sound Affects Us.” Julian Treasure:. Accessed January 9, 2016. https://www.ted.com/talks/julian_treasure_the_4_ways_sound_ affects_us?language=en#t-259698.

Julian Treasure is a sound expert who delivered a TED talk in 2009 about the importance of designing for sound and how it affects us cognitively. He talks about the implications of sound on workplace production, relaxation and health recuperation.

“Weather: A Four-Season Region.” - University at Buffalo. Accessed January 15, 2016. http://www.buffalo.edu/about_ub/the-buffalo-niagararegion/a_four-season_region1.html.

In this informational page by the University at Buffalo, the school describes some of the stigmas against Buffalo and some of the inaccurate assumptions made about the amount of snow received.

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