For this task the brief was to design the construction, soundproofing and acoustic treatment of a recording studio complex within a series of set constraints. The complex had to include a control room, live room reception and bathroom, within an overall floor space of 15m x 15m. The main focus was to be on acoustic design with the use of scale drawings to make the studio clear and easy to understand. For this studio the idea was to design a space suitable for recording large ensemble groups such as orchestras and so the space was designed with this in mind when regarding the size shape and layout of the space.
Arguably two of the most important aspects when designing a studio complex are that the live and control rooms included a lot of natural light and that the communication between the artists and the studio team is free and easy. In the studio this has achieved this by creating a design similar to and inspired by ‘The Big Room’ at Real World Studios (Realworldstudios.com, 2013), where the ‘control room’ and ‘live room’ are actually all within the one space utilising the live end/dead end theory. (See Appendix A)
The studio consists of one large room where there is a live area at one end and a control ‘room’ at the other (See Appendix B) at the live end of the room the wall consists of large windows, the air conditioning in the room is a fully external system with isolated ducts. The control section of the space will be arranged so that the desk faces the live space and the monitors form an equilateral triangle with the engineer’s head so as to achieve the best listening position (See Appendix C).
(See Appendix D for more information on studio design)
To achieve the necessary isolation in a studio it would be important...
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Looking at the convention Mulitmedia, Stibbard used sound and projections. The space Stibbard used was large and was all painted black, like a floor plan, he would draw in his props with white chalk, he would pause the play to explain what he just drew, this goes on to V-effekt. Back to stagecraft, everything was in plain view, the projector stayed on stage the entire time. The set is split into three sections, a square for Thom’s apartment, a square for Alethea’s apartment, and a corridor where the days of the week are. The lighting on set is used for location, to locate
...hey have entered the house, and then keeps it as you pass through the disappearing walls, pivoting doors, retractable stairs, and floating floors. It incorporates architecture, interior architecture and furniture design to create a total design that can be modified for different occupants. It truly is functional space.
Utzon, J. (2002). Sydney Opera House Design Principles (Publication). Retrieved October 1, 2011, from http://www.heritage.nsw.gov.au/docs/nominations/operahouse_designprinciples.pdf
...y conceptual. But I sense that this might suffice as an initial tip and could help the multitudes who are carrying on the design procedure of these dorms. [2][5]
My room is the only place where I am most comfortable due to the way how I personally decorated it. My room fits my personality and nothing in my room distracts nor annoys me. Everything fits my preference: the size of my bed, its setting, its organization, and the low quantity of baubles scattered around the room. My room can either be clamorous or silent.
The Use of Electronic Technology in 20th and 21st Century Music In this essay, I have examined the use of electronic technology within 20th and 21st Century music. This has involved analysis of the development and continuing refinement of the computer in today’s music industry, as well as the theory of the synthesiser and the various pioneers of electronic technology, including Dr. Robert Moog and Les Paul. Also within the essay, I have discussed the increasing use of computers in the recording studio. The computer has become an indispensable tool in ensuring that both recording and playback sound quality is kept at the maximum possible level. Many positive ideas have come from the continued onslaught of computerisation.
Polyphonic is operating on a “shoestring budget” of $150,000. The company is not helped by initial discussions about HSS with potential customers, which have resulted in cold receptions, at best, about the product’s potential application to the music processes despite its multiple strengths.
My home office was a long work in progress. I demoed it myself, which made it take even longer. When it was finally finished, I realized that much like how the dark basement affected my headspace for practice, my lack-of-office environment had effected my headspace for work.
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
The evaluation document is a representation of my present teaching ability, and the target areas that I will improve on. I taught the Hooke’s lab investigation, so I grouped students in pairs and had them work in their lab stations. Given the lab stations set up–in aisles–, I decided to have three groups of students work on each side of the aisles; however, the aisles were narrow and the students barely had space to move through them. I did not ask the students to move to other areas of the classroom to prevent losing their focus, but this is something I will be more cautious about in the future. I have to provide a safe classroom environment that allows students to have ample space to work in, so I will verify that I provide the needed space in future classes. I originally thought that proximity would enable adjacent groups to discuss their findings with each other, but even I had a hard time walking through the aisles to reach struggling groups.
Meijenfeldt, E. V., and Geluk, M. 2003. Below ground level: creating new spaces for contemporary architecture. Birkhauser
Being an architect is a very important thing, you have a large amount of responsibility. You control a large aspect of someone’s life whether it is where they walk in a shopping centre or where they sleep and eat, and that is why it is very important to design for yourself and your client. You have to imagine the space as if you were there, you need it to be
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
Interior design is one of the most important professions. When thinking of design and architecture industry, it is necessary to keep in mind that the professionals emphasis on matters of everyday life when commencing a project. Important sectors of interior design consist of: residential, commercial, hospitality, healthcare, education and corporate designs. Thus, the field deals with numerous factors and affects almost everyone in some way. Design is goal-oriented– it strives to achieve a certain purpose. An essential goal of interior design is to create functional spaces that convey a specific mood for an audience using design elements, thus outlining a design for communities versus individuals.
...rs (ear phones), and the monitor engineer will send individual mixes to each of these as the band requires. This is not always a balanced mix like out front, as the musician may only [want] to hear key things, i.e. the singer may only want his vocals, as he can hear the drums and guitars loud enough alread” (Kasprowicz 2014). I imagine this particular task is a bit more challenging than being an FOH. Not only does one have