PAJARITO SCHOOL

OF MUSIC
by
Jan Kristin Engel
A THESIS
IN
ARCHITECTURE
Submitted to the Architecture Faculty
of the College of Architecture
of Texas Tech University in
Partial Fulfillment for
the Degree of
BACHELOR OF ARCHITECTURE

Chairman of the Committee

Programming Instructor (ARCH 4395): Prof. David Driskill

Design Critic (ARCH 4631): Prof. Bob Rilter

fean, College of Architecture

December, 1987

no. zz

p aj a r i t o
school
0 f

music

a conservatory

for

stringed

instruments

What challenges from the physical^

social,
and spiritual
environment
produce creative
ideas?

For Mom and Dad - thank you.

table of contents
introduction
issues
appendix a: economic analysis
appendix b: activity summary
notes
bibliography

1
2
138
144
148
155

introduction
Presented in this program are guidelines for
the design of a conservatory for young
performing musicians to be located in the
Jemez Mountains in New Mexico.
The
primary function of the facility would be to
provide instruction and effective learning
experiences for talented high school students
who aspire to professional roles in music
performance and its related professions.
Goals of this project are to:
Design
to encourage
creative
innovative
problem-solving
self-expression through music.

and
and

Design
with
the
environment;
harmoniously integrating plant and
wildlife habitats with those of man.
Design to enhance the listening experience.
Further
investigate
the
parallels
between
architecture
and
music
theories, structure, and patterns.
Design an environment conducive to
promoting unity between the musician
and his instrument.

Design an academic, artistic, and cultural

environment.
Strengthen the cultural awareness of the
Southwest.
'Strengthen the current Los Alamos High
School music program.
Strengthen the
economy.

Los

Alamos/Santa

Fe

issues
1 spirit and symbolism
2 network of learning
3 innovation
4 intellectual learning
5 studying
6 information gathering
7 social learning
8 group interaction
9 cultural learning
10 self-expression
11 creative thinking
12 environmental context
13 jemez mountains
14 property ownership
15 natural environment
16 landforms
17 topography
18 views
19 vegetation
20 wildlife
21 climate
22 surface hydrology
23 geological processes
24 social environment
25 group size
26 group composition
27 intimacy gradient

28 gathering places
29 regional interest
30 teenage society
31 commuting
32 psychological environment
33 the importance of cultural awareness
34 inspirational space
35 mood of landscape
36 high places
37 window place
38 indoor sunlight
39 zen view
40 the shape of space
41 learning space
42 masters and apprentices
43 meditative space
44 positive outdoor space
45 quiet backs
46 pools and streams
47 roof gardens
48 courtyards which live
49 a place for musical happenings
50 practice studios
51 rehearsal studios
52 concert rooms
53 reception
V
54 seating arrangement

61

69

74

81

55 a grand entrance
56 meeting rooms
57 faculty studios
58 music library
59 instrument storage
60 repair room
the listening experience
62 acoustics
63 studios for practice
64 volume
65 interior materials
66 noise and vibration control
67 sound outdoors
68 use
group living
70 student residences
71 administrator residences
72 staff residences
73 communal eating
conservatory administration
75 administrative offices
76 food preparation
77 medical aid
78 cleaning and maintenance
79 grounds storage
80 garage
building support
82 building regulations

83 water regulations
84 sewage regulations
85 utilities
86 parking

n e t w o r k
0 f

learning

Fig. 1 - An outdoor meeting with a class of conducting students at

Tanglewood. Erich Leinsdorf, instructor.

un'der-stand'
: 1. to
perceive
the
meaning of. 2. to assume from what
is heard; infer.
3. to take as meant;
interpret.

2. network of learning
Learning is a lifelong process during
which
one
acquires
new
skills,
knowledge, and develops one's thought
process.
Although learning is stereotyped to be an
experience one encounters only in a
classroom, it is an activity that occurs
wherever stimulus may be encountered: in
nature, at play, work, or in the classroom.
Any setting has educational potential.
Too
many of our schools are grey fortresses,
empty of emotion and laughter.
Pupils are
expected to learn without the benefit of most
of the ingredients that infuse our cultural life
and our personal lives with depth and
understanding.
Furthermore, the more people present in an
educational situation, the more the potential
of learning increases.
All people have
different perceptions and experiences to
contribute. It is important that the setting in
which learning occurs is conducive to an
interchange of ideas and experiences.

Fig. 2 - learning at Tanglewood from Hugh Ross.

Schools are designed on the assumption that there is a

secret to everything in life; that the quality of life
depends on knowing that secret; that secrets can be
known only in orderly successions; and that only
teachers can properly reveal these secrets.
An
individual with a schooled mind conceives of the world a;
a pyramid of classiFied packages accessible only to those
who carry the proper tags. New educational institutions
would break apart this pyramid. Their purpose must be
to facilitate access for the learner: to allow him to look
into the windows of the control room or the parliament, i:
he cannot go into the door.
Moreover, such new
institutions should be channels to which the learner
would have access without credentials or pedigree public spaces in which peers and elders outside his
immediate horizon now become available...^

In a society which emphasizes teaching,

students become mentally lazy and are
unable to think for themselves.
Creative,
active individuals can only grow up in a
society which emphasizes learning instead of
teaching.
therefore:
Create a network of learning such that
students take an interest in their own
education, in their ability to think
conceptually, and in their ability to
express themselves.
Design
for a
mixture of intellectual,
social, and
cultural learning experiences.
Build
new educational facilities in a way
which
extends
and enriches
this
network.

Create
a campus
plan
which
fosters
_ ,
.
.
.
i.
out-of-class
learning
and
teaching
stations
designed
to
foster
in-class
.
learning.

3.

innovation

Building
a music conservatory
which
encourages curiosity and creativity in young
people and motivates
them to think
innovatively helps learning.
Many of our
schools are uninspiring.
Students are
encouraged in their abilities to write and
compute, but not to innovate, to conceptually
solve problems.
Many school districts are
cutting their arts programs as unessential
frills.
When we recognize how uninspiring school can
seem when all the vivacity and flavor of the
arts are purposefully eliminated, we can begin
to understand the appeal of television.
Schools have surrendered large parts of our
cultural heritage, with their joy and emotional
grip, causing young people to seek them
elsewhere.^

Although a philosophy of arts education for

the talented is forming, it is following a notion
of technical training only. The emphasis,
especially
in
arts
schools
is
on
technique...undercutting the unique role that
the creative process plays in problem-solving
in all walks of life.-'
To re-create a freedom of self-expression and
the opportunity for exchange of ideas, three
types of settings are conducive to creativity:

physical, spiritual, and social. The image

which
most
clearly
describes
the
conglomeration of these settings is a
conservatory, set apart from urban activities,
where one can focus on self-expression
through an artform. In this case, the artform
is music.
therefore:
Establish the conservatory as a creative
center of specialized education.
As a
social conception, this conservatory is
open to musicians between grades 11
and
12 in high
school
education.
Spiritually,
the
conservatory
is
encouraging to the student in the area
of innovative self-expression
through
music.
Physically, the conservatory is
set atop a mesa, in the midst of
wilderness
overlooking
an
inspiring
vista,
and
separate
from
urban
interruptions.

4.

intellectual

learning

"I think you need to know enough of the

fundamentals to survive as a musician..."
Michelle Madland, violinist
Encourage the growth of an individual's
academic knowledge.
One can apply
this
wealth
to
all
learning
and
therefore develop one's own opinions.
Intellectual learning can be defined as
studying [5] basic academic subjects in
order to be able to apply that specific
knowledge to other subjects. A student should
be allowed maximum opportunities and
exposure to a great variety of ideas and
subjects. A broad fundamental background is
an investment of knowledge the student will
draw from throughout his/her life. It is only
through such exposure that the individual can
make up his/her own mind and apply what
has been learned.
Los Alamos offers intellectual experiences for
music students.
These experiences are
defined as participating in activities such as
c r e a t i v e thinking
[11], i n f o r m a t i o n
gathering [6], and studying [5].

Los Alamos High School offers opportunities

for social learning [7] through
meeting
others not involved in music in addition to the
superior teaching of mathematics, science, and
verbal communications. Supplement the
music concentration program of c u l t u r a l
learning [9] and social learning [7] by
allowing conservatory students to attend Los
Alamos High School in order to establish a
broad base of academic knowledge.
"I think that courses that are really
intellectually challenging [are essential]. . .you
can apply your methods of thought to your
violin
or
whatever
instrument
you
play...before you can get any emotion out, you
have to know what you're doing. It helps to
already think in a logical and sequential
manner." - Will Madland, violinist.
therefore:
Provide and support opportunities for
the academic learning of fundamental
subjects for all students.

5.

studying

Studying is an activity in the network of

learning [2] which means different things to
a variety of students. The act of studying can
be defined as an application of one's
knowledge to understanding a subject.

therefore:
Provide informal
group study.

areas

for

solitary

Students study by reading, observing,

researching, and contemplating.
Whenever students have time between
classes and their class situations demand it,
they will use small amounts of free time for
study wherever there is a convenient place."
Observations of high school students indicate
that studying most often occurs at or near the
classroom, sitting on the floor in classroom
corridors or on building steps, at home, or in
the library.
Informal study areas should provide seating
with tables and be flexible so that areas for
group study can be easily arranged. Studying
is a part of the network of learning [2].
Other activities related
to studying include
information gathering [6] and g r o u p
interaction [8].

Fig. 3 - If seating cannot be moved, make it possible for the

individual to shift or move.

and

10

6.

information

gathering

To thoroughly study and understand a

subject area, one must have the access
to reliable resources other than the
instructor in the classroom.
Research of unexplored topics, academic or
otherwise, is an integral part of studying [5].
For example, in the course of studying history,
one usually is required to research a
historically important event to gain an
in-depth understanding of accurate facts.
This research usually takes place in the form
of seeking information from reference
materials such as books and periodicals. In
music, information
gathering
involves
utilizing not only textual references but also
listening to and analyzing musical recordings
of famous performing artists.
therefore:
Provide
a place
to
keep
subject
information, both visual and audial.
Pick a place that
gives one solitude so
that what is being read or listened to
can be absorbed.

-r

r-<f

Fig. 4 - Table space requirements for readers.

11

7. social

learning

"You may be a great musician when you

practice alone, but if you can't blend well with
people, you can't function as a part of the
group sound...and then who knows, who cares
what you sound like?"
- W. Madland, violinist

The relationship of humans to each

other is of particular importance in
understanding
the structure
of the
world and in changing it.

The social intercourse created when

people who have like interests is one of
the most essential kinds of social "glue"
in learning.
People act as support and
inspirational
elements
in
studying
music.
The network of learning [2] relies on the
fact that learning is not merely a classroom
experience, rather it is a synthesis of
knowledge derived from different sources
including social influences. In a group
performance situation one must focus not
only on
the individual sound but the
contribution of that individual sound to the
group. Dynamic levels, tone, and expression
are part of the group interaction [8] in
music performance.
Because of the
involvement with other performers musically,
there must also be contact with those
performers socially.

Fig. 5 - Group discussions among the residents are a vital part of

social growth.

12

"There were so many people you could get to

know (at Boston Conservatory) who are
famous musicians...and they were just
hundreds of feet away.
The big thing is
having a lot of people around who are
talented." - Jan MacDonald, trumpet
The earlier patterns of
intellectual
learning
[4], studying
[5], and
the
network of learning [2] call for the need of
group
interaction
[8],
and
self-expression [10] as a part of the social
give-and-take of ideas.
Students have a
tendency to segregate themselves in various
"social centers" where friendships form from
discovery of similar interests. Richard Myrick
conducted a study of high school students in
the Washington D.C. area and found that
students identified "their" social centers and
checked through these centers several times a
day.
Myrick's study also showed that a
majority of student conversations about
classes and studies took place in school
corridors and on the school lawns.
Music is an objective artform in that many
interpretations can be intelligently made on
one piece by numerous highly-esteemed
musicians and thought to be "mastered" or

"correct." Although the private instructor is

the primary source for a student's study of
"how" to interpret music, the knowledge one
can learn from peers and their ideas and
interpretations is also a valuable educational
experience.
Discussions involving personal
analysis of musical interpretation is common
among performers.
It is necessary to
encourage social intercourse through the
natural, psychological, and built environment.
Music is essentially a social activity.
Its
existence, function, and form are determined
by the nature and values of the culture that
enfold it.^
therefore:
Create
informal
social
centers
encourage group interaction.

to

13

8.

group interaction

Positive peer involvement is one of the best

instructors of teenage
society
[29] in
learning social skills and ultimately social
learning [7].
Students of the Pajarito School of Music
need a chance to meet peers with other
interests.
If students of the Pajarito School of Music
depended exclusively on each other for
friendships, a lack of opportunity for depth in
social learning might occur.
This does not
mean that music students are bad-mannered,
it is merely unhealthy for 50 students to have
only each other to learn social skills from.
Involvement with students of interests other
than music provides opportunities to learn
tolerance, trends, and open one's mind to
differences in human nature.
Certain
intellectual
interests
generally
have
stereotypical characteristics in personality.
Exposure to differing personalities would
provide real-world lessons for all students
involved.

By encouraging group interaction with other

high school level students, realization of the
importance of cultural awareness [32]
amongst average members of
teenage
society [29] might increase.
Regional
interest [28] would also grow and thus
provide a stronger foundation for a desire of
cultural learning [9] atmosphere
and
conducive social environment [24].
therefore:
Design the curriculum of the Pajarito
School of Music to allow for interaction
with students from Los Alamos High
School on a daily basis.
Arrange the
daily schedule so that fundamentals are
taught at LAHS during the mornings.
Allow time for socialization after school
hours at LAHS.

14

9.

cultural

learning
Molto vivace

Instruction in the arts is one of the

best vehicles for the full development
of students' cognitive powers and for
practicing the links between cognition
and the senses.
The network
of
learning
[2] has
established that cultural learning is an
important
aspect
in helping
students
understand themselves through methods of
creative
thinking
[11]
and
self-expression
[10]. This language may
take the form of spiritual expression, as in
music, or physical expression, like dance.
Art is considered the universal language, and
through language we communicate with
others.
When we can no longer express
ourselves with words, we turn to one form of
art or another.
Language is much more than symbols or
the forming, orally, of something we call
phonemes. Language at
its very best
includes the arts, theatre, music, painting,
poetry, and dance.
All of these express
deep feelings and emotions and these too
can stir a deep response in others...we
must have a language as broad and
creative and as imaginative as our thoughts,

6.
^

^
i^=^

CYvoV v^-

2Z2

-#-b

-t

I
4

09-

Fig. 6 - Excerpt from Frederic Chopin's "Minute Waltz" for piano.

15

our
feelings,
and
our
emotions
and this means that in defining language
we must include the arts.
Indeed, I
am convinced that the central test of the
civility of any culture is its breadth of
language...the extent to which it conveys
inner
thoughts
and
feelings
through
music, dance, theatre and the visual arts.^^

Many schools are uninspiring academically,

let alone culturally. There seems to be a lack
of cultural appreciation within our schools. To
illustrate this point, many school districts are
cutting their arts programs as unessential
frills.
When we recognize how uninspiring
school can seem when all the vivacity and
flavor of the arts are purposefully eliminated,
we can begin to understand the appeal of
television.
Schools have surrendered large
parts of our cultural heritage, with their joy
and their emotional grip, causing young
people to seek them elsewhere.
Culture combines intellectual and artistic
activity. It is bred by society to its members.
Culture is a part of our environment which
forms
our
artistic
tastes,
aesthetic
appreciation, and our expression of what we
are as a civilization. Musical expression is one
of the major contributors to our culture.
Pupils are expected to learn without the
benefit of most of the ingredients that infuse
our cultural life and our personal lives with
depth and understanding. -^

According to John Huizinga, author of Homo

Ludens:
A Study of the Play Element
in
Culture,
imagination serves a significant
function in the creation of culture and
therefore in the formation of civilization.
As
an expressive art, music should be taught as
something which is "played" rather than a
subject to be studied.
Thus, learning
experiences in music are more central to
achieving desired objectives than information
about music.
The goal in cultural teaching is to give youth
something of value in the arts that will last
them a lifetime.
In the future the arts may
help teach us to turn to our inner selves and
cultivate our sense of being in a chaotic world.
Culture is representative of our civilization's
tastes and values.
It is these tastes and
values that need to be instilled in our youth.
therefore:
of
the
Design
the
architecture
structural
conservatory
to
be
a
A cultural
composition of frozen music,
atmosphere
established
by
the
architecture will be inspiring to all who
work and study there.

16

10.

self-expression

Expressing one's self through music is an act

of creative thinking [11] and can result
from cultural learning [9] experiences.

therefore:
Develop
teaching
methods
for
conservatory
faculty
that
encourage
individualistic
self-expression
of
each
student.
E n c o u r a g e and s u p p o r t both
faculty
and
student
musical
and
thought
creativity.

Arts instruction teaches students how

to develop the body as a vehicle for
the expression
of concepts,
feelings,
and personal points of v i e w . ^
Students must be trained to use their senses
to maximize information learned from past
musical experiences.
They must also be
taught to recognize their personal style of
musicality, and otherwise, communicating
with others.
Music provides a prime
opportunity for students to develop the self:
self-knowledge,
self-discipline,
and
a
personal viewpoint.
Today's adolescents, although facing a risky
and unknown future, need the support and
courage to find their own way in their art
form. They need to know it is possible to
communicate through their art, that their
lives have purpose and meaning, and that
expression of this purpose and meaning can
find its highest achievement through their
r
16
unique art form.*"

Fig. 7 - The cellists's hands. May, 1987.

17

11.

creative

thinking

A r t can serve as a catalyst for personal

growth
intellectually,
emotionally,
spiritually.
Creative
problem
solving
a n d o r g a n i z a t i o n a l skills a r e developed
through
artistic
conception
and
17
awareness.
Emphasis in general as well as specialized
education should be placed on the creative
process. Originality of expression needs to be
emphasized in a musician's learning process.
The curriculum at Pajarito School of Music
can reflect this emphasis by providing
improvisational problems for students to
formulate and communicate their original
ideas 18
Students are capable of original work, and
therefore artistic independence should be
rewarded, not put down or ignored. Students
expected to produce high quality work based
on their own ideas will live up to this
expectation.
A respect for experimentation,
improvisation, and compositional theory is
needed along with the idea that "work in
progress" is acceptable as a teaching
19
m e t h o d . ^ Composition classes should be a
part of studying music performance.

therefore:
Emphasize originality not replication in
both
faculty
and
student
work.
Include composition and
improvisation
applications
as
part
of
the
conservatory's
curriculum.

Making music is a unitary

process.
Imagination,
invention,
and
memories of sounds are mixed with
thinking.
This thinking is not like
the thinking that goes into science;
it comes from
emotion,
intuition,
and cognition.

e n v i r o n m e n t a l
c o n t e x t

Environmental
r:

.iS

18

12.

environmental

context

Study of an expressive art-form such as music

requires inspiration from an environment
that encourages cultural learning [9],
intellectual
learning
[4], and social
learning [7].

Environmental context consists of the natural

environment
[15],
the
social
environment [7], building support [81],
and the psychological environment [31].

The environmental context determines

one's quality of life in terms of comfort,
happiness, and style.
In nature we never see anything isolated, but
everything in connection with something else
which is before it, beside it, under it, and over
It.
A synthesis of nature, architectural
spaces, psychological needs, and social desires,
the environment should be conducive to
human behavior activities. If one of these
elements of the environment is weaker than
the others, in other words, not positively
contributing to the sense of environmental
"presence," the overall context is incomplete.
therefore:
Design with the environment in mind.
Consider the effects the end results will
have on the users and the site context.

Fig. 8 - View looking east from eastern rim of site.

19

13. jemez

mountains

The Jemez Mountains are

environmental
context
Southwest.

part of the
[12] of the

The proposed site is undeveloped land

located on the eastern edge of the West
Jemez Mountains in north-central New
Mexico.
The site for the conservatory is on an
unnamed mesa overlooking Burn Mesa and
the Sangre de Cristo Mountains. Rising to a
maximum of 12,000 feet, this cluster of
mountain ranges is located west of the Rio
Grande. Scattered throughout the mountains
are private land-holdings, several Indian
pueblos, and the land within the Jemez
Division of the Santa Fe National Forest.
Encompassing 1,580,969 acres, the Santa Fe
forestland is divided into two sectors: the
Pecos and the Jemez Divisions. To manage the
areas efficiently and in a decentralized
manner, the forestland is further divided into
Ranger Districts. Three central offices closest
to the site are located at Jemez Springs,
Espanola, and Santa Fe.

FIR. 10 - Map of National Forestland in New Mexico.

II
20

,o.S.

Rg. 11 - The Jemez Mountains

Fig. 12 - Map of the Jemez Mountains and Pajarito Plateau.

Fig. 13 - Jemez Mountain Planning Area.

21

The Jemez Planning Area shown in Figure

encompasses about 60 acres of the West
Jemez Mountains. The closest water storage
tank is 2 miles downhill, there are no power
lines within 200 yards, and there are no
provisions for sewage lines currently located
at the site. The nearest sewage tie-in is at the
water tanks previously mentioned.
State Road 4 is a paved, well-maintained
highway which provides access into the Jemez
Mountain Area. At the junction (Figure 15) of
State Road 4 and the road to American Spring
is the beginning of the approach to the
proposed site.
Vehicular access to the site
consists of an undeveloped dirt road which
winds through stands of towering aspens and
pines, providing a scenic entry into the area.

Fig. 14 - Proposed conservatory site.

lOO

Je.s

4eo

Adjacent
developed
areas
include
the
communities of Los Alamos, Santa Fe, and
some Jemez Spring properties.
The planning area is surrounded by the Santa
Fe National Forest, which is administered by
the U.S. Forest Service. The open circle in
Figure 10 is currently owned by the Santa Fe
National Forest. Precedent for "land swaps"
and long term leasing arrangements with the
U.S. Forest Service is well established in this
area.

Fig. 15 - Junction of Stale Road 4 (farright),the tum-off to

American Spring (far left), and the road leading to the proposed
site.

22

Fig. 16 - Map illustraung proximity of site to Los Alamos

Community.

Lbs ALAMOS,

Fig. 17 - The West Jeirez Mountain Area(haiched -in area;

in Los Alamos Coimty.

<^e/ Potrillo

lO l o i AUrnos

lo 6andFli0( Njlinnjl Mnnumtnl

Fig. 18 - West Jemez Mountains.

23

The Jemez Mountains can be reached in

approximately 10 minutes by travelling south
on West Jemez Road from Los Alamos or
about 50 minutes travelling west from Santa
Fe; 25 minutes in the same direction from
Bandelier Natl. Monument. State Road 4 is a
two-lane highway.
It has minimal shoulder.
As it winds its way up into the Jemez, it is
common to find a 200' vertical drop on one
side of the road and a vertical incline of rock
on the other. The road is maintained by the
State of New Mexico. West Jemez Road has
three lanes and shoulders. Because of heavy
traffic use year-round into Los Alamos,
seasonal upkeep of the roads travelled is a
area priority.
therefore:
Exercise
care
of
the
natural
and
developed
resources
of
the
Jemez
Mountains.
Preserve and maximize
them for the enjoyment of the people
living
in
the
vicinity.
Develop
necessary
utilities
and
roads,
responding sensitively to the existing
land area.

The uniqueness of the Jemez Mountain area is

a result of the combination of physical
phenomena of the natural
environment
[15]
with needs of adjacent
social
environments [24].

24

14.

property

ownership

Los Alamos County can purchase the 60

acre parcel of land in the West Jemez
Mountains [13] from the U.S. National
Forest for the advancement of cultural
learning [9].
Located southwest of Los Alamos County, this
property lies between 7980 and 8120 feet
above sea level. This parcel of land is entirely
surrounded by the Santa Fe National Forest.
Slopes range from 2 to 80 percent grade.
There are no existing surface bodies of water
on the site. Figure 19shows the possible access
from State Road 4 to the logging road that
leads directly onto the site.
therefore:
Develop
a
music
conservatory
for
talented high school aged musicians on
the purchased property.

Fig. 19 - Proposed site and part of Jemez Planning Area. Hatched

area illustrates access corridor. Good access from the west and
southwest from State Road 4.

25

15. natural

environment
Mi

The natural environment is a constituent of

the environmental context [12] and can
be an inspirational element conducive to
cultural learning [9] experiences.
The natural environment of the West
Jemez Mountains is characterized by
irregular
landforms
and
magnificent
views.
As one enters the mesa from State Road 4, as
indicated in Figure 20 , he finds himself in the
midst of towering ponderosa pines and
aspens, grassy meadows scattered with
mountain wildflowers, and the dried remains
of past trees.
The sunlight seems to battle
with the overhead tree canopies, piercing
through treetops, revealing slivers of light.
The air is clean, crisp, and enhanced only by
the smell of wood and fresh green mountain
grasses.
Splashes of reds, yellows, purples, blues, and
whites dot the earthy trail and grassy
meadows that wind to the site. At the edge of
the mesa is a view so breathtaking, it seems
surreal. The vast panorama of

Fig. 20 - Road leading to proposed site.

26

For A Mountain Burial

purplish-bluish mountain peaks, still capped
with white snow, seems to be an artist's
backdrop to the needled stark trees and
jagged cliff edges at the mesa's tip.
Clean white clouds seem to glide over the
entire view, their movement a reminder that
this landscape scene is indeed real. No artist
could possibly create such a composition of
contrasting elements of hues as rich nor forms
that could complement each other as well as
the hands of Mother Nature and Time.
therefore:
Design facilities for this area using
patterns of contrast,
Design with the
natural
environment,
Replicate and
accentuate the natural colors found in
the landscape.
The
natural
environment
consists
of
landforms [16], topography
[17], views
[ 1 8 ] , vegetation
[ 1 9 ] , wildlife
[20],
climate [21], surface hydrology [22], and
geological processes [23].

A granite ridge:
the mountain's firm crust
once fluid
become stone.
We buried her
under the low-bending branch of a fir tree,
all that was left
after the final burning,
her bodily remains
reduced as much as possible
to ash.
Some of it drifted in a fine veil
on the light cloudy wind;
the rest we mingled
with granite particles
and leaf-mold,
and I thought of the tree
drawing its mineral nourishment
from bone cells
and crumbled granite.
Let rain's dark music
dissolve her elements;
we leave her to the mountain mists and waters,
forgetting the long struggle not to die,
cleansing our memories
of the last traces of possession.
Let no one now strive to keep her
captive to any mind
or heart-formed image.
May all ghosts take form of birds
and begin singing
among the birds of daybreak.
Peggy Pond Church

iSSm

27

16.

landforms

^ > ^ ^

Opportunities exist for experiences and sights

of earth formations characteristic of the
Jemez Mountains [13].
The geological construct of the Jemez
Mountain area and the surrounding
area is an awe-inspiring
phenomena
unique
in its form and
geological
development.
The West Jemez Mountains resulted from a
series of volcanic explosions in the Peistocene
Age. Geologists venture to say it was at one
time the most dominant peak on the continent
- a colossal 27,000 feet high. The center of
the eruptions which exploded the "mountain
off of the mountain" is now called the Valle
Grande.
Spreading like a pleated skirt
around the
central core are two plateaus of solidified
volcanic ash - the Pajarito (Pa-ha-REE-toe:
little bird) Plateau on the east side and the
Jemez (HEY-mes: from Tanoan Indian word,
hay-mish, meaning "people") Plateau on the
west. The site lies on the steep outer slope of
the Sierra de los Valles, the east rim of the
Valle Grande. The rock, hard, dense, and

Fig. 21 - Viewed from 120 miles up by Apollo IX, the Jemez

Caldera (Valle Grande) is the dominant feature of north-central
New Mexico. The Pajarito Plateau and the Jemez Plateau fan
out from the cenu-al mountain core.

28

/,

grey-purplish color, is ashflow tuff, though

different in appearance from the familiar
orange cliffs of lower plateaus.
Here, the
intense heat of the molten ash near its source
welded the particles into compact hard
rock. 23
therefore:
Protect
these
formations
from
destruction
by
Man's
insensitivity.
Enhance their splendor by preserving
the natural
construct
of the
land.
Development should occur with minimal
grading.

Fig. 22 - Natural land formation characteristic of the Jemez

Mountain land area.

29

17.

topography

Topography is the configuration of the earth's

surface molded by landforms [16].
Slopes on the site range from less than
2 percent to more than 60 percent.
Topography
has
great
environmental
significance, as it affects the aesthetic
character of an area, its microclimate,
drainage views, and the setting
for
structures.
As Figure 23 indicates, about 60 acres of the
proposed conservatory site, mostly centrally
located, has a grade of 3 percent or less. The
areas along the mesa perimeter on the
south-east and southern edges are the
steepest.
therefore:
Site buildings on land with a slope of 3
percent and less.
Design
aesthetic
safety
measures
along
the
south-eastern rim.

Fig. 23 - Proposed site showing slopes by percent.

40C

30-^ 7.

30

18. views
The natural environment [15] p r o v i d e s
breath-taking views on and from the site.

^-,'

:,-...,*-fi'.

Because of its location on the end of a

mesa, the site overlooks a vast and
inspirational panorama of the colorful
mesas, valleys, and mountain
peaks
unique in character to northern New
Mexico.
On the site, sunshine weaves
through tall ponderosa pines, splashing
the grassy meadows and shrubberies
with light, creating a pastoral setting.
The Sangre de Cristo Mountain Range can be
seen from the southern, south-east, and
eastern edge of the site's perimeter. In front
of the Sangre de Cristo Mountains is Burn
Mesa, where elk can be seen feeding during
the winter months. There is not a direct view
to Los Alamos community or to State Road 4
leading up to the site. Were some of the trees
and shrubberies thinned out along the
northeastern edge of the site's perimeter, Los
Alamos could be seen in the distance. This
type of view is not desirable for the
conservatory, however.

Fig. 24 - View towards Sangre de Cristo Mountains and Bum Mesa.

Facing southeast from the eastern rim of the site's edge.

31

therefore:
According to Figure 25 display the views
on the site, especially the Sangre de
Cristo
Mountains,
since
they
are
important landmarks characteristic to
the
rugged
northern
New
Mexico
landscape.

Fig. 25 - Map showing major views from the proposed site.

O

ico

tc'

t>0

Fig. 26 - Ponderosa pines in December 1986 at proposed site.

32

19.

vegetation

Trees, grass, shrubs, and

plants thrive on the site.

flowering

Not only do we determine the presence of a

mountain by the elevation and rugged
topography, but also by the kinds of plants
we find. Plant life serves to cool, humidify,
and filter the air as part of the natural
environment [13]. Trees and other planting
help to control run-off and destructive
erosion of a site.
Planting improves the
quality of the environmental context [12]
and therefore the quality of human life.
Use the existing vegetation to enhance the
mood of landscape [35].
As shown in Figure 27 , the open "parks" on the
site have little slope. Approximately 15 acres
of the site with slopes less than 3 percent are
grassland.

forest

types:

A mixture of tree stands exist on the site.

These include Ponderosa Pine, Douglas-Fir,
Quaking Aspen, Englemann Spruce, and Blue
Spruce.

/,;

;.'

a-i'

ifci>li!;...,-.i.--

- '

A
-^-

Fig. 27 - Open "park" on the proposed site, July 1987.

33

aspen:
One of the most beautiful sights to be seen in
the Jemez country during the fall is the
quaking aspen with its brilliant golden leaves
and white powdery bark. During the summer
the leaves are a shimmering green. Because of
their delicate balance, tremble and dance at
the slightest breeze, hence the name of the
tree.

Fig. 28 - Quaking Aspen

Aspens grow on burned or cut-over areas

where they help prevent erosion.
They
regenerate through root sprouting.
Aspen
forests are usually short-lived. Without
disturbance, they will convert to coniferous
forests in a span of 100 to 200 years. They
provide habitat for elk, deer, and birds in the
Jemez area.
blue

spruce:

Blue spruce and Englemann Spruce often grow

together, and it is difficult to distinguish
between the two. This type of conifer is
valued for
wildlife habitat, watershed
protection, and production for wood products.
The spruce-type reproduces by seed and will
reproduced itself naturally if not treated. A
natural disturbance, such as fire, will usually

Fig. 29 - Blue Spruce

34

result in reversion to aspen. Blue spruce is

able to bear heavy snow load without being
damaged.
douglas-fir:
Douglas-fir is a long-lived species, and is one
of the tallest trees to grow in the Jemez
Mountain area.
It is valued for providing
wildlife habitat and scenic quality. Like the
spruce conifers, douglas-fir is a climax species
which reproduces from seed.
Stands mature
and die without treatment.
Because of the
soaring heights to which a douglas-fir can
grow, it is valued for cover from weather and
extreme sun.
englemann

Fig. 30 - Douglas - fir

spruce:

Like the Blue Spruce, the Englemann type is a

prominant tree found in the West Jemez.
Large trees may reach a height of 100 feet. A
forest of Englemann Spruce usually contains
trees of all ages and sizes, as the younger
trees are able to grow even in the dense
shade of the taller trees.
Because of its
shallow root system, this type of spruce is
often blown over by high winds. -^

Fig. 31 - Englemann Spruce

35

ponderosa

pine:

Ponderosa pine usually grows in nearly pure

stands in open park-like forests. It can grow
to a height of up to 150 feet. Ponderosa pine
require a lot of sunlight during its life,
especially as it ages.
Dense stands of
seedlings may be seen for the first 10 - 15
years of growth, but they then thin out due to
increased need for sunlight.
shrubs

and

plants:

The common chokeberry (Figure 32 ) is a shrub

commonly found where ponderosa pines
grow. It is a tall shrub which is valued for its
edible berries and religious significance to the
Navajo Indians.
Other fruit-bearing plants
include the red raspberry (Figure 33), the wild
strawberry (Figure 3 4 ) .

^^r^
Fig. 32 - Common chokeberry

v^

Fig. 33 - Red raspberry

flowers:

"--^^

It

There are a wide variety of flowering plants

in the West Jemez area. Splashes of white,
red, pink, yellow, blue and purple add colorful
interest to the existing landscape. Make use
of the floral variety in the design of mood of
l a n d s c a p e [35].

^'^^i^'^f^

Fig. 34 - Wild Strawberry

''/

01

'^

it

36

therefore:
Preserve and maintain a variety of
forest
types, s h r u b s , and
flowering
plants.
Create
gardens
using
the
existing palette of plant forms which
exist naturally on the site rather than
introducing new plant species.
Aspen stands near the conservatory are
the
habitat
of
songbirds.
Avoid
building
structural
foundations
too
close (minimum of 30') to the stands, as
damage could result from the aspen's
rhizome method of growing.

ig. 35 - Cranesbill flowering plant

Fig. 36 - Ponderosa Pine

37

20.

wildlife

Wildlife
depends upon the
natural
environment [15] and vegetation [19] for
existence.
The natural environment provides for
the habitats of all types of animals in
the area.

large

mammals:

The Elk (Figure37) feeds on Burn Mesa during

the winter. Herds are visible from the site.
In the summer, they move to higher
elevations.
Mule Deer (Figure 38) are
well-suited to the rough terrain of the Jemez
and lower mesas where they seek food and
cover and are always to be found in the site
area.
Rocky Mountain Black Bear (Figure 39) are
scattered throughout the area, feeding
primarily on grasses, roots, bulbs, berries, and
other vegetation.
Other predators, including
mountain lions (Figure 40 ) and wildcats
(Figure 41), can be seen although rarely at the
site. Coyotes (Figure42) are the mammals most
often seen in the area.

Fig. 37 - Elk

38

FiR. 41 - Wildcat

Fig. 42 - Coyotes

39

birds:
The raven (Figure 43) is the bird most easily
recognized and commonly seen in the area
skies.
Also found in tree groves are the
sharp-billed tree-dwellers, searching the bark
for grubs and insects.
The brown creeper
(Figure 44) spirals up and down the trunks of
trees, balancing with his long stiff tailfeathers,
then flying to the base of another tree.
Nuthatches (Figure 45) also travel up and down
the trunks of trees searching for bugs.
Mountain chickadees (Figure 46) hang upside
down from the branches to get their meal. "
Woodpeckers (Figure 47) frequent tree trunks
for food, but feed mostly on branches. They
control bark beetles and other destructive
bark insects. Their nests can be found in the
form of a large cavity drilled in trees. These
nests are often subsequently used by other
birds too.
Sharp-shinned hawks (Figure49 live in forests,
chiefly preying on song birds. The Red-tailed
Hawk (Figure49 nests high in coniferous trees,
and feeds on small rodents, lizards, and
rabbits.^^

Juncos (Figure 50) feed and nest on the ground.

They are seed eaters who migrate by altitude
and will be seen on site only during summer.

Fig. 43 - Raven

Rg. 44 - Brown Creeper

40

Fig. 48 - Sharp-shinned hawk

Fig. 45 - Nuthatch

Fig. 46 - Mountain Chickadee

Fig. 49 - Red-tailed Hawk

Fig. 47 - Hairy Woodpecker

Fig. 50 - Dark-eyed Junco

41

rodents:
Abert's Squirrel (Figure 51) and
the Red
Squirrel (Figure 52) can be found living among
the trees. Abert's Squirrel is dark grizzled
grey above with darker sides.
He is
characterized by tufts or "tassels" extending
beyond his eartips. Abert's Squirrel stays in
ponderosa pine forests, feeding on pine seeds,
inner bark of pine, and other vegetable items.

Fig. 51 - Abert's Squirrel

The Red Squirrel feeds heavily on pine seeds

and leaves
piles
of cone
remnants
everywhere. He nests in hollow trees, fallen
trees, tree crotches, or in holes in the ground.
The nocturnal Deer Mouse
abundant in the area.

(Figure 53 ) is

thgr^fprg;
Based
upon
knowledge
of
wildlife
needs, preserve natural habitats.

Fig. 52 - Red Squirrel

Fig. 53 - Deer Mouse

42

21.

climate

The meteorological conditions including wind,

precipitation, and temperature of the Jemez
Mountains [13] result from elevation of the
topography [17] and regional weather
patterns.
The
climate
of
the
West
Jemez
Mountains is characterized by cool
summers and cold winters.
Weather
conditions
are
subject
to
sudden
change due to highly variable wind
patterns and unstable air moving in
from the Gulf of Mexico and Pacific
s t o r m s . 28
Climate is important because it bears directly
on human comfort.
The Jemez Mountains
experience extremes in temperature changes
from summer to winter as well as day to
night.
temperature:
Wide seasonal variations of
occur with monthly averages
January to 89.8 F in August.
Temperature varies from day to

temperature
of 10 F in
(Figure 54).
night as

JAN

FEB

MAR

APR

JNE JULY

AUG -hPr

O'.'T

RANGE OF COMFOHFABLE TEMHtRAlURE

AFTERNOON MAXIMUM TEMPERATuHc
AVERAGE DAILY TEMPFRATURr

MORNING M I N I M U M T E M P E R A U M - ;

COMrOnTABLE PfcHIODS iN THE vEAR BASED ON TEMPERATURE

Fig. 54 - Average temperature for Jemez Mountain area.

UuJ

43

Fig. 56 - Average humidity

well. The maximum temperature range each

year is between 86 F - 95 F. The minimum
temperature range each year is between -18
F and 10' F with the average lowest
temperature being -4 F annually. The slope
orientation of mountain sides
influence
temperature: west-facing and south-facing
slopes usually are warmer than those facing
east or north 29

70
M
30
20
10
BM JAN

fEB

MAR

APR

MtV

JUH? JUU

AUG SEPT

OCT

NOV

DEC

- - - R A N G E OF COMFORTABLE MuMlDlTV
AVERAGE MORNING HUMIDITY

AVERAGE AFTERNOON HUMIDITY

COMFORTABLE PERIODS IN THE YEAR BASED ON TEMPERATURE AND HUMID*TV

humidity:
The West Jemez Mountains are characterized
by clear skies and dry air. Average humidity
(Figure56) levels are 40 - 45% during summer
months and 5 -10% in the winter. On a clear
day, visiability extends from 50 - 60 miles.

Fig. 57 - Average precipitation

precipitation:
Summer is the "wet" season in the
mountains.
As shown in Figure 57 ,
June-July-August or July-August-September
are the months of maximum precipitation.
Rains often begin in late spring (the last
week or so in April) and often terminate by
September or October.

N a H.

During the summer season an extension of

the Bermuda sub-tropical cell of high
pressure moves into the Gulf of Mexico. The

\\

l^

clockwise circulation around this system

pushes moist, unstable air into New Mexico.
Concurrent large amounts of solar radiation
cause daytime heating of the ground, which
in turn produces convective showers. Spring
is a dry season because it is in between the
winter storm period
and the
summer
infusion of air from the Gulf of Mexico.
From May through September there is 7 1 %
average annual precipitation with 45% of
that occurring between the months July
through September.
The months from
November
through
April
receive
29%
precipitation, December through February
being the driest at only 14%.

Fig. 58 - Map indicating direction of summer and winter winds.

iC-C

wind:
Wind direction is primarily from the south
and south-east in warmer months, shifting to
the north and northeast in the winter (Figure
58).
s n o w f a 11:
Average annual snowfall in the Jemez
Mountain area is 51 inches.
Snow usually
falls between late November and mid-March,
sometimes as late as April. It is not

1^0

**o

4S

uncommon to receive 20" - 30" of snow in

one storm, depending upon its longevity and
the density of the snow itself.
lightning:
The Jemez Mountain area is known for its
tumultuous lightning storms that occur
primarily during July and August.

TEMPERATUHE AND HUMIDITY PLUS SOLAR HEAT GAIN

(Increases comlortable periods)
2 WO
2250
2000

use
I SCO
1250

'

.y^

''^^v

^-

\
V.

lOOO

_i-' '

750

j "

"^.i

>

%-

human

comfort:

JAN

FEB

MAR

APR

MAY

JUNE

JULY

AUG

SEPT

OCT

NOV

DEC

-^PEAK HEAT GAIN 8TU DAY ON HOHIZ i SQ FT

_ _ PEAK HEAT GAIN BTU DAY ON VERT I SQ FT

The comfort zone consists of the combination

of temperature and humidity shown in
Figure 59/60.
This figure also illustrates
additional BTUs needed to bring the
temperature into the comfort zone. In this
country, the comfort zone is roughly between
65 F - 7 5 " F and between 20% - 75% relative
humidity. 3 1
therefore:
The climate is predictable to design for
because conditions are too cool for
untreated comfort.
Temperature and
snowfall
are
the
primary
concern.
Lightning
protection
must
be
integrated into the design.
Design a
comfort
plan to fit
the site
and
minimize exterior surface area exposed

CCMf ORTABLE PERIODS IN THE YEAR BASED ON TEMCERAIURE AND

HUMIDITY PLUS SOLAR HEAT GAIN

Fig. 59,60 - Comfort zone comparison

TEMPERATURE AND HUMIDITY

(decreases comlortable periods)

__ .

i'"

1r1 r

r-^-jd

*.-

_ rsv._ _
~.,^

^-"-^

'

^.-^

"

"Til-*.^ "
^

JiN

FEB

MAR

"

^,
^'ft..
4

APR

MAY

JUNE JULY

AUG SEPT

OCT

RiNGE OF COMFORTABLE TEMPESATUHE

. liTERNOON MAXIMUM TEMPERATURE
i/HAG DAILY TEMPERATUHE

'

VORNING MINIMUM TEMPERATUHE

*'. COMFORTABLE PERIODS IN THE YEAH BASED ON TEMPEHATUHE

NOV

DEC

46

to winter winds.
When possible build
into
the
south-facing
slope
and/or
berm earth against the north face of
buildings to minimize the amount of
exposed north wall. Fig. 62 - Vegetation should be used to protect the structure from
cold north winds.

Hmp

Fig. 61 - Masonry is a heat conductor that should not project

through an exterior wall. Cluster chimneys in the center of the
sUTJCture to minimize perimeter heat loss.

Fig. 63 - Place storage and secondary use spaces on wind exposed

wails.

Fig. 65 - Use double or U'iple glazing and fit insulated curtains or

shutters for use at night.
Fig- 64 - Site the structure to prevent cold winds from drawing
heat from it. Use airlock 'vestibules'.

Fig. 66 - Build to prevent the winter sun from being cut off by
trees and mountains.

47

22.

surface

hydrology

Water
is precious
to the
natural
environment
[15]
in the J e m e z
Mountains
[ 1 3 ] . Essential as the
life-support of vegetation
[19], w i l d l i f e
[ 2 0 ] , and human life, proper use and
maintenance
of
water
require
special
attention.
In New Mexico the hydrologic systems
generally
coincide
with
surface
drainage basins.
The Jemez Mountain
aquifers
are
relatively
protected,
artesian, saline, and have poor yield.
Approximately 700 feet below the site's
surface is the Buckman Aquifer from which a
large portion of northern New Mexico draws
its water.
The aquifer is approximately 12
miles away from the site and flows along the
Rio Grande at a rate of 40 feet per year.
About 20 miles away from the site, the water
table gradually increases to depths of 100 200 feet below the surface.
Although surface drainage systems are
nearly always dry, when it rains, it really
pours - and these drainages really become

functional.
Consequently,
one maintains
existing drainage patterns or
provides
alternate drainage patterns around building
sites.
Fortunately, this site has minimal
drainage problems due to the slope (less than
3% - see t o p o g r a p h y
[17]).
Local
contractors who did not provide for local
existing drainage have lived to regret their
oversight deeply.
therefore:
Do not build in areas of
drainage.
Utilize
natural
resources.

natural
water

48

23.

geological

processes

All features of the earth's landscape reflect

variations in the underlying rock units and
processes that formed them.-^^ It is more
meaningful to view landforms [16] if their
origins are understood.
There are three types of soil found on
the proposed site: basalt, Bandelier
tuff, and loam.
The distribution of these soils is indicated in
Figure 67.
basalt:
Basalt is a hard rock that results from lava
pouring intermittently from the earth, thus
resulting in layers hundreds of feet thick. As
basaltic hills grew in height, the lava flows
became
interfingered
with
beds
of
34
sediment.-'^
bandelier

tuff:

Bandelier tuff dropped to the earth during

the volcanic explosions in the form of

Fig. 67 - Map illustrating distribution of soils of proposed site.

4^

49

pumice. Distinct layers of the ash can be

seen visually. The bottom half is softer and
is known as a "slope-former" because it
typically weathers in a slope; the top half is
harder and is called the "cliff-former."
On
this particular piece of land, the tuff is soft
and suitable for construction.
trag loam:
Trag loam is deep, well-drained soil on
benches and foot slopes. The top 8" of soil is
greyish-brown.
Below this layer is 50" of
sandy clay subsoil. The substratum, a depth
of 60 inches or more, is also sandy clay loam.
Grasses are the native vegetation, allowing
for low runoff rates. The hazard of water
erosion is generally moderate to very high.
Because the slope of the site is slight, and
lightly covered with pine needles in addition
to a protective grass cover, the chances of
extreme soil erosion are relatively low.
therefore:
The
soil
is
a
tuff,
clay,
and
sandstone-type
combination.
The
ability to build solidly upon footings is
excellent, and one can dig into the
earth (if necessary) easily with a

backhoe.
The pond of water will need
to be lined because the tuff is quite
porous.
Protect the soil from erosion during
site development.
Avoid building too
close to the edge of the mesa, as
southern-facing tuff has a tendency to
spall as a result of expansion and
contraction from extreme temperature
changes and warm winter sun.

50

24.

social

environment

An integral part of social learning [7] and

therefore the environmental context [12],
socialization with others makes an impact on
our lives.
The social climate significantly
the people functioning in it.

impacts

Communicating with others in order to share

our experiences and find out what is going on
is very important to most people.^^ T h e
similarities
and
differences
in
the
backgrounds of members of a group
determines
the
atmosphere
of
an
environment.
Most of us form friendships
with those who are close to our own age,
educational level, and hold similar beliefs.
When these characteristics, and others like
them, are common with people in a group, we
usually feel more comfortable and accepted.
This allows us to infer dominant values,
concerns, and ideologies of persons in the
group.^"
Morale of a particular group is influenced by
size of organization, subunit size, supervisory
ratios, automation, and a teamwork approach.

The social atmospheres created by different

structural properties influence the behaviors
and attitudes of people in groups.-^'
Any environment that is inadequate for its
intended purpose, which frustrates and
annoys us, or that limits our ability to
accomplish our purposes has a direct bearing
on human behavior. Any designer ignoring
this concept ignores what human beings are
all about.
therefore:
Social climate is as unpredictable as
people.
For example, as some people
are
more
propitious
than
others,
likewise are social environments.
Some
people have more dominant personality
traits and thus feel a need to control
others.
Social environments can be
similarly controlling and frustrating.
The social environment of the network of
learning [2] should be open and conducive
to positive experiences.

51

25. group

size

The number of people in a s o c i a l

environment
[24] affect the intimacy
gradient [27] of its members.
In
specialized
educational
settings,
most students prefer small size groups
to large ones.
This way, more students
benefit from more focused
attention
from the instructors.
One of the most critical factors affecting
students' feelings about their school, their
involvement,
and
their
sense
of
accomplishment is the size of the school.^
Studies have shown that students in smaller
schools have a more positive self-image, show
a greater sense of responsibility, and are
more sensitive to the needs of others than
those in more populated schools.
There is no precise data on what constitutes
the dividing line between "small" and "large."
The number of students is relative to the
scope of the educational function.
One
guideline for determining the size of a school
is to limit it to the size necessary to
accommodate a broad range of academic
courses that are relevant to its principal
mission.

Enrollment at resident high-school level

schools for music vary in size from 100 - 500
students.
The grade spans have an almost
equal split into the following four groups: 7 12, 4 - 12, 9 - 12, and other. Staffing is
usually by certified teachers with many
part-time professional artist-teachers added
to augment the full-time staff. The schools
consider their work preprofessional rather
than a traditional "arts education" program.^^
therefore:
The
conservatory
should
be
small
enough that everyone can be familiar
with each other, yet large enough to
provide quality musical groups.
For
this conservatory, develop a facility for
50
students,
5
faculty,
3
administrators, and 7 supporting staff.

52

26. group

composition

The diversity of personality-types in a social

environment [24] of any group size
[25] affects the goals and accomplishments of
a group.
The
similarities
and
differences
between group members influence the
group's capabilities and attitudes as
well as the potential growth of the
individuals within the group.
In order to feel that you are a member of a
group, you must know what the group is
doing and what concerns the group. Knowing
other people in an environment who share
experiences and problems results in the
establishment of supportive relationships.
Although the people of a given group are
from different backgrounds, they grow from
the group experiences and build relationships
which open the doors for understanding.
There are thousands upon thousands of
artistically talented youth in American
schools who do not have the opportunity to
grow to their fullest potential.

Many of them succeed in spite of their

obstacles of minimal training, a "small pond"
in which to grow (resulting in lack of
competition, and therefore peer motivation),
or perhaps no form of musical guidance at all.
However, many have had opportunities for
proper direction but do not have the
frequency of practice time and performance
that is necessary for developing psychomotor
excellence.
Most of the artistically gifted
young men and women are also gifted
academically and need schooling in the best
possible manner - a full program of arts and
academics.^^
An answer to the needs of gifted and
talented students, recognizing that
these students have an immense
capacity to learn, is that many
communities, large and small, are
forming
arts
schools
as
a
new and exciting form of education.
Approximately 75 to 100 schools now
exist in North America with dozens
more being formed each year.^^

These schools are organized in several distinct

ways and can be categorized as follows:
resident schools of the arts
non-resident schools of the arts
non-resident "arts only" schools
arts schools-within-a-school
resident summer schools of the arts

53

A school should be designed to fill local needs

and fit into the existing educational
framework. Some examples address only one
age group or only one art area. Almost all the
art schools were established after 1970 and
are non-resident arts and academic schools.
The great majority were created as a result of
the "magnet school" approach to voluntary or
court-ordered desegregation efforts.
The vast majority of arts schools see their
purpose as being preprofessional rather than
providing supplementary arts education as
seen in a liberal educational system. By the
junior and senior levels of high school, there
is a majority of students specializing in their
art and working at a pace similar to private
conservatory or professional life. Judging by
their rate of success, this seems the best route
for them to take.
Graduates of arts schools are finding
employment in the arts, obtaining excellent
scholarship assistance as they continue their
education, and gaining recognition in contests
and competitions such as Arts Recognition and
Talent
Search
(ARTS),
or
General
Motors/Seventeen.^^

Fig. 68 - Courtesy of TTU Music DeparUnent

54

The general public, especially parents of

Pajarito School of Music students, has every
right to expect this school to provide an
appropriate general education equal in
quality to that obtained by students in the
Los Alamos High School setting.
Students
attending the Pajarito School of Music must
gain a realistic understanding of the
professional world of the arts and their
future in it. With both a solid foundation in
basic education and a realistic understanding
of potential for success in music, students
who choose to attend a special arts high
school, such as the one proposed, have
multiple options for success upon high school
graduation.
therefore:
The educational
curriculum
of the
Pajarito School of Music should fill the
needs of neighboring communities and
the Southwest area.
Each student
should spend half a day in musical
study, the other half in academics.
Organize the school to be a sub-group
of Los Alamos High School. Specialize
the
program
to
educate
talented
musicians
playing
the
following
stringed instruments: violin, viola.

cello, bass, and piano.

Allow residents
of Los Alamos to participate in the
school's program.

55

27. intimacy

gradient

The spaces in the conservatory buildings

need
to
be
arranged
in
a
sequence
corresponding to their degrees of privacy.^
All buildings, and all parts of buildings which
house well-defined human groups, need a definite
gradient from "front" to "back", from the most
formal spaces at the front to the most intimate
spaces at the back."*^
The relationship between
the public areas and private areas is important in
all buildings and residential units at the
conservatory. 45
"^

Fig. 69 - Office and house intimacy gradients

therefore:
Design the spaces of conservatory buildings
so that they create a sequence which begins
with the most public parts of the building,
gradually
leading
to the
most
private
.46
areas

T he way furniture is placed in a

space
specifies
the
expected
interactions
between
people:
the
greater
the distance,
the
more
formal the interaction.

56

28.

gathering

places

Utilize gathering places as a means to

encourage the informal aspect of the social
environment [24].
A number of smaller assembly areas
will be more useful than a single large
area.^'
Arrange seating to encourage
informal social groups.
There are
places needed where people can "hang
out," comfortably, for hours at a time.
The ease and accuracy with which we both
communicate and find our way through the
landscape is largely contingent on the nature
of the surrounding environment.'^^ Most
seating arrangements are stagnant, so people
avoid them, nothing ever happens there.
Other arrangements seem to gather life
around them - what constitutes
the
difference between the two?
Perhaps the major difference lies in their
position. An informal gathering place needs
a well-defined area, with paths running past
it, not through it. It should be placed so that
people naturally pass by it, stop and talk,
lean on the backs of chairs, gradually sit
down and relax, get up again.

Fig. 70 - Nooks in central areas that include comfortable furniture

encourage group commimication.

57

A second factor of gathering places is the

shape. When people sit down to talk with
one another, they generally try to arrange
themselves in a circular pattern. Evidence of
this has been presented by Margaret
Mead^^. One possible reason for the circle as
opposed to other forms, is the fact that
people like to sit at an angle to one another
rather than side by side^^.
Thus, the seating arrangement needs to be
informal. Relatively loose arrangements can
be adjusted slightly which seems to animate
the group. The chairs will hold themselves in
this position if the architecture subtly
suggests a circular area.
therefore:
Design
loosely
arranged
gathering
areas
in
the
lobbies
of
student
residence halls, practice, study, and
outdoor areas.
Place each sitting space
in a position which is protected, not
divided by paths or movement, and is
roughly circular in form.
Design the
defining elements of the room to help
suggest a circle. Allow for paths and
activities
around
it
to
encourage
"people gravitation" toward the space
to socialize. Provide a few too many

chairs so that people can maintain

comfortable body space between one
another.
Use a window place [37] with a zen view
[39] to mark the gathering area. Design the
shape of indoor space [40].

58

29.
los

regional
alamos

support, and interest.

Many artists,
craftsmen, and well-known musicians live in
the area.

interest

community

economy:
The population
of Los
supportive of area cultural

Alamos
events.

is

population:
Los Alamos is the closest community to the
proposed site.
Currently the population of
permanent residents is 17,500 people.
A
majority of the community members are
employed at the Los Alamos National
Laboratory for the purpose of scientific
research.
Los Alamos is an intellectual
community; the education level of the
townspeople is quite high.
attitudes:
Attitudes are generally conservative.
The
people care and are concerned about what
happens to the forest land in the area.

Los Alamos County's economy has historically

been based on state and federal employment.
Unlike a majority of New Mexico, Los Alamos
has a fairly strong economy. Median family
income is $30,307.^^ An estimated 3.5% of
the population is below the poverty level.

santa fe community
population:
The population on Santa Fe community is
approximately 75,000 residents. A majority
of the people are involved in the tourist
trade. Santa Fe is perceived as a cultural
center of the Southwest as a result of
resident devotion to the fine arts.
attitudes:

Community gatherings often find the people

of Los Alamos together.
Cultural events,
especially musical, bring great attendance,

Santa
Fe residents
are
open-minded
individuals in their acceptance of diverse
life-styles. They are supportive of all fine

59

arts, including music. Two local symphonies,

the Santa Fe Opera House, and the annual
summer chamber music festival evidence
this.
Diverse cultures have and still impact the
area attitudes and beliefs.
Santa Fe has
distinctive character.
The influence of the
magnificent natural setting, the persistence
of Pueblo and Spanish values, and the impact
of the American occupation and Anglo art
colony makes Santa Fe into a living
museum.^^

Fig. 71 - Scene from a Santa Fe Opera perlormance.

economy:
Most of Santa Fe's income results from state
employment and the tourist trade.
The
median family income is between $13,501
and $17,000.
An estimated 11.2% of the
population is below the poverty level.^^
therefore:
Capitalize
on
the
population's
appreciation of culture and historical
precedence in the a r e a .
Encourage
support by area musical
performing
artists.

Fig. 72 - The Orchesua of Santa Fe - a rehearsal.

60

30.

teenage

society

The transition from childhood to adulthood

needs to be treated in a manner encouraging
to intellectual and psychological growth. This
pattern can take place in the network of
learning [2], social learning [7], a n d
intellectual learning [4].
Application of
the issues of the network of learning [2]
can contribute to the network of m a s t e r s
and apprentices [42].
The adolescent years are the time of
transition from childhood to adulthood.
In traditional societies, this transition
is accompanied by rites which suit the
psychological
demands
of
the
transition.
However,
in
modern
society, "high school" fails to entirely
satisfy the transitional needs of the
t e e n a g e r 54
Just at the time when teenagers need to band
together freely in groups of their own
making and explore, step back from, and
explore again, the adult world: its work, love,
science,
laws,
habits,
travel,
play,
communications, and governance, they get
treated as if they were large children. There

is no new form of society, which is a

microcosm of adult society, where they can
test their growing adulthood in any serious
^ a y 55 Under these circumstances, the adult
forces which are forming in them lash out;
blind
adults
call
this
vengeance
"delinquency."
It is necessary that teenagers form a
miniature society in which they are as
responsible mutually as the adults in the
full-scale adult society.^ ^
The teenagers
should be responsible to and for one another.
They should be taught to respect each other's
feelings and belongings.
therefore:
Make the high school age conservatory
an institution which is a model of adult
society, where the students take on
most
of
the
responsibilities
for
learning and social life, with clearly
defined roles and forms of discipline.
Provide adult guidance, both for the
learning and the social structure of the
society; but keep the structure as much
as feasible, in the hands of the
students.^^

61

31.

commuting

Flexible transportation is needed for

satisfaction of intellectual learning
requirements.

the
[4]

Transportation must be able to take

students from the conservatory to the
townsite.
Conservatory students will need to travel to
Los Alamos High School on weekday
mornings in time for class at 8:30 a.m. and
return after lunch, leaving LAHS at 1:30 p.m.
Los Alamos offers limited opportunities for
nighttime activities.
The only source of
public entertainment is one movie theaters.
However, transportation to Los Alamos via a
conservatory vehicle should be provided at
scheduled times.
therefore:
Provide
flexible
transportation
of
students to classes and social events.
Develop
a
schedule
to
fit
both
conservatory
administration
and
student needs.

Fig- 73 - View along access corridor to proposed site, July. 1987.

62

32. psychological
environment
"Enclose space as if it were precious not for
the sake of space itself, but for the life that
goes on within it."
- George Nelson (1908 - 1986)
One of the main reasons for building anything
is to assist people in accomplishing their
purpose as effectively as possible. Knowledge
of human behavior and perceptions should be
applied to create inspirational spaces [34],
learning spaces [41], and meditative
spaces [43] that help people achieve their
goals with a maximum of satisfaction and a
minimum of frustration and friction.
The psychological environment
does
affect
the
creativity
and
self-expression
capabilities
of
the
musician.
An artistic atmosphere is
conducive to the student's
musical
experience and learning.
Psychological environment in this application
is a result of social and learning
environments. The latter combination should

function to promote a desire among students

and faculty to practice and study.
If the
students and faculty are encouraged to work
diligently in a pleasing environment - a
positive psychological environment - their
attitude will be contagious to all staff
members, graduates of the school, and the Los
Alamos and Santa Fe supporters.
therefore:
Through architectural design, create
desirable
social and
organizational
climates
to
achieve
a
positive
psychological environment.

"The physical facilities

may be nice,
but if you don't have people
there
who
are
not
(musically)
inspirational,
you're
not going
lo
have much
happening..,"
-Jan MacDonald,
trumpet

63

33. the
importance
cultural awareness

of

Alan Merriam defines music as a "cultural

activity"^
and a "uniquely human
phenomenon which exists only in terms of
social interacion; that is, it is made by people
for other people and it is learned behavior."^"
It is important to recognize music and
its performers as major contributors to
our society's culture.
"Most people ignorantly suppose that artists
are the decorators of our human existence,
the esthetes to whom the cultivated turn
when the real business of the day is done...Far
from being merely decorative, the artist's
awareness, with his sense of proportion and
harmony, is one of the few guardians of the
inherent sanity and equilibrium of the human
spirit that we have."
-Robert Motherwell, American artist"^
Music as one of the arts shapes the quality
and longevity of a society. Music celebrates
the vast and manifold talents of Americans
Fig. 74 - Rehearsal at Tanglewood.

64

and bind us together as a people over time.

Now, more than, ever, society needs the
capacity to see clearly, to hear acutely, and to
feel sensitively the space which surrounds us
and is within us.
These skills are now
essential if we are to survive together with
civility and joy.^^
Youth must achieve expectations of
excellence, a reaching for beauty without
arrogance, a dedication to social justice, a
precision for speech and thought, and a love
for graceful expression, an expression of our
cultural tastes.
therefore:
To educate society about music as a
part of our culture, provide the public
opportunities to attend performances at
the conservatory.
These experiences
will enrich people's understanding and
appreciation of music.

According
to behaviorists,
learning
takes
place
when
an
individual
associates a new response to a given
stimulus,
resulting
in a
permanent
change in
behavior.

65

34.

inspirational

space

To encourage creativity, arrange the work

spaces to be inspirational to the masters and
apprentices
[42]. Create m e d i t a t i v e
spaces [43] and learning spaces [41] to
complement the inspirational spaces as part
of the psychological environment [32].
Inspirational
space can be interior,
exterior, or a combination of interior
and exterior.
The
environment
psychological as well as physical - does
affect human behavior.
One cannot be
nearly as creative in a drab room as
they can in the midst of Nature.
Architecture
and physical design
can
influence psychological states and social
behavior.^^ The size, shape, and surfaces of
interior spaces can evoke a variety of feelings.
Surrounding one with natural materials
appeals to the senses more than hard-edged
cold space.
Viewing an element of the natural landscape
can serve as an inspiration; an element to be
studied and interpreted.
Windows will
provide natural light and ventilation...a way
to feel nature when indoors.

therefore:
Design interior and exterior space to be
inspirational,
arousing
moods
and
emotions within the users.
Design for
the views of the surrounding natural
environment, because natural beauty is
inspiring to all artists.
Some of the design elements used to compose
inspirational space may be used for
meditative spaces [43] a n d
learning
spaces [41]. These elements include: mood
in landscape [35], high places [36],
window place [37], indoor sunlight [38],
zen view [39], and the shape of indoor
space [40].

Inspiration is the moment when

desire
to
express
meets
possible.
-Louis /. Kahn

the
the

66

35. mood in landscape

Mood of the landscape is designed by nature,
the n a t u r a l
environment
[15],
topography
[17], vegetation
[19], and
climate [21].
Landscape can have mood as the theme
for its appearance - elegance, humor,
mystery,
serenity,
brutality,
grotesqueness,
softness,
sensuousness,
gaiety, dazzle, etc.
The reading of mood in nature provokes the
sympathetic recognition of self in relation to
place. Upon the surface of the land we find
plants, large and small, that evoke or suggest
a mood. It may not be readily apparent, but
upon scrutiny a mood of some kind will come
through, colored by our experiences and past
associations. 63
Delineating or intensifying the mood of a site,
whether a small garden or hundreds of acres,
celebrates its pure natural aesthetic. It may
be argued that the real beauty is neither in
garden or landscape, but in relation of both
to the individual, that what we are seeking is
not a scenic setting...but a background for
life.64

Fig. 75 - Elegance of summer.

67

Fig. 76 - Brutalism of landscape.

Fig. 77 - Complexity and Intricacy

II

68

The idea of mood is timeless and universal.

A landscape with violent outcroppings of
rock may suggest brutalism; a site with
gnarled and contorted oaks, twisting against
the sky, can suggest grotesqueness. Figure
is a floral celebration of summer; Figure
one of bitterness; and Figure
of complexity
and intricacy.
A holistic design must indicate consideration
of relationships between a building and its
surroundings, the topography, orientation,
walks, and planting.
Awareness of the
influence exerted by climate and the
relationships of earth, plants, water, and
building materials in space is necessary in
order to create a landscape integrating the
natural and man-made environment.
Figures
suggest individual moods nature
designed on the proposed site. These moods
that nature creates in the Jemez Mountains
result from seasonal change.
therefore:
Design to enhance the natural moods
created by the site's landscape.
Reflect
differences of seasonal change - create
natural
gardens
to celebrate
Fall,
Winter, Spring, and Summer.

Fig. 78 - Mystery of landscape, December 1986.

69

36. high

places

The instinct to climb up to some high

place, from which one can look down
and survey the world, seems to be a
fundamental human instinct.^^
High places are important from which to look
down. People who live in an area where
there are high places looking over large
amounts of land can reassess the shape and
scope of their surroundings. To get a full
sense of the magnificence of the view, it
seems necessary to climb, even if for a short
distance, as the exercise clears the mind and
prepares the body.
therefore:
Emphasize the overlook of the Sangre
de Cristo Mountains and Burn Mesa at
the tip of the site. Do not make it a
simple walk to the edge, but an
interesting
hike,
through
natural
existing brush and rocks.

JFig- 79 - View of Sangre de Cristo Mountains and lower mesas,

looking east

70

37.

window

place

This pattern helps complete the arrangement

of the windows given by zen view [39] and
indoor sunlight [38].
Everybody loves window seats, bay
windows, and big windows with low
sills and comfortable chairs drawn up
to them.^^
If the room contains no window which is a
"place," a person in the room will be torn
between two forces:
1. He wants to sit down and
comfortable.
2. He is drawn toward the light.

be

Obviously, if the comfortable places - those

places in the room where you most want to
sit - are away from the windows, there is no
way of overcoming perpetual feelings of
unresolved conflict and tension, as dictated
by a room without a window place.
In principle, any window with a reasonably
pleasant view can be a window place,
provided that it is taken seriously as a space.

a volume, not merely treated as a hole in the

wall. Any room that people use often should
have a window place. And window places
should even be considered for waiting rooms
or as special places along the length of
hallways.
therefore:
In every room where you spend any
length of time is spent during the day,
make at least one window into a
"window place. ..67

71

38.

indoor

sunlight

From intimacy gradient [27], you have

some idea of the overall distribution of public
and private rooms within the building. This
pattern marks those rooms and areas along
the intimacy gradient which need the
sunlight most, and helps to place them so
that the indoor sunlight can be made to
coincide with the rooms in the intimacy
gradient which are most used.^
If the right rooms are facing south, a
spaces
are bright and sunny
and
cheerful; if the wrong rooms are facing
south,
the
spaces
are
dark
and
gloomy."^
The fact is that very few things have so much
effect on the feeling inside a room as the sun
shining into it. The key diagram for this
pattern summarizes the relations between
parts of the conservatory and the morning,
the afternoon and the late-afternoon sun.
Arrange spaces along the south, southeast,
and southwest of the building to capture the
sun. Take special care to detail the south
edge properly, so that the sun is working

Fig. 80 - From Christopher Alexander's A Pattern Language..

72

indoors throughout the day.^^ Thus, design

the conservatory to be long along the
east-west axis.
A long east-west axis will set up the
conservatory buildings to keep the heat in
during the winter, and to keep the heat out
during the summer.
The conservatory will
be more pleasant and more energy-efficient,
thus lowering heating costs. The "optimum
shape" of an east-west building based upon
Victor Olgyay's Design with Climate is shown
in Figure
therefore:
Place the most important rooms along
the south edge of the building, and
spread
the building out along
the
east-west axis.
Design the arrangement so that proper
rooms are exposed to the south-east
and south-west sun.
For example, give
the
common
area
a full
southern
exposure, bedrooms in the living areas
south-east,
evening
sitting
areas
s o u t h - w e s t . 71

1'. 1

12

. J

^v

7/

opiimum 1.16

^ig. 81 - Optimum shape of an east-west building based upon

climate-type.

73

39. zen view

The issue here is to make the most of a
view...to enhance it through use of the
window place [37]. Views not only govern
the rooms and windows in a building, but
helps to provide places of transition to the
natural environment [15].
If there is a beautiful view of a natural
element,
design
the
windows
sensitively and proportionately to that
view.
What is it that is happening on the site? The
view of the distant mountain ranges, the tree
stands, or even a small clump of mountain
wildflowers stays alive forever. Anyone who
has ever seen that view probably will not
forget it. That is, if it is enhanced not spoiled
by placement and size of the window.
One wants to enjoy a beautiful view, but the
more open it is, the more obvious, the more it
shouts, the sooner it will fade. Gradually it
will blend into the building, like the
wallpaper; and the intensity of its beauty will
no longer be accessible to the people who use
or live in the space daily.^^

therefore:
Enhance a view of nature or of sunlight
with windows
which look onto the
view at places of transtion - along
paths, in hallways, in entry ways, on
stairs, between rooms.
If the view window is correctly placed,
people will see a glimpse of the distant
view as they come up to the window or
pass by it:
but the view is never
visible from the places where people
stay. 73
Build a seat from which a person can enjoy
the view - a window place [37]. Make a
special corner of the room which looks onto
the view, so that the enjoyment of the view
becomes a definite act in its own right.^^

74

4 0 . the shape
space

of

indoor

The shape of indoor space can be conducive to

social learning [7], intellectural learning
[4], and cultural learning [9].
The perfectly crystalline squares and
rectangles of ultra-modern archtiecture
make no special sense in human or in
structural terms. 75
Every space, which is recognizable and walled
enough to be distinct, must have walls which
are roughly straight. Acute angles are hardly
ever appropriate because it is difficult to
make an acute angle in a room which works.
Most often rooms will pack in such a way that
angles are somewhere near right angles,
which makes sense.
Obtuse angles do not
pack well at corners where several rooms
meet.
This means that a majority of spaces in a
building must be polygons, in plan, with
roughly straight walls and obtuse-angled
corners. In the case of this design, respect for
the site and the subtleties of the plan will
inevitably lead to slightly irregular shapes.

therefore:
With occasional exceptions, make each
indoor space or each position of a
space, a rough rectangle, with roughly
straight walls, near right angles in
the
corners, and a roughly
symmetrical
vault over each room.'"

75

41.

learning

space

T h e psychological environment [32] in

which one participates in the network of
learning [2] is important in the sense of
promoting innovative thinking.
Spaces where the students practice
are taught music should create
interest on their part in their
education.
These spaces should
motivate the student to practice
attend rehearsals, not avoid them.

and
an
own
help
and

One of the advantages of music education is

that a music teacher can take advantage of
students' natural interest in music and
involve them actively in making music, rather
than in merely lecturing, discussing, or
theorizing about it.^^ In order to establish
the master/apprentice atmosphere that is
vital in instructing music, arrange the space
for practice near the instructors' studios.
Create pleasant environments for the students
and faculty to work in. Every learning space
should have a view to the outside. (If you do
not have a view to the outside, you feel too
enclosed and oppressed by the building).

therefore:
Arrange the learning spaces into spatial
clusters, organizing
them around a
tradition of masters and apprentices.
Support this form of social organization
with a division of the learning space
with one for each master and his
apprentices - where they can work and
meet together.

76

42. master
and apprentices
The network
of
learning
[2] in the
community relies on the fact that learning is
decentralized - part and parcel of every
activity - not just a classroom thing.
The fundamental learning situation is
one
in which
a person
learns
by
helping
someone
who
really
knows
what he is doing.
It is the simplest
way of
acquiring
knowledge, and it is powerfully effective
when learning music.
If students can learn
best when they are acting as apprentices,
and helping to do something interesting - it
follows that our schools must provide
physical
settings
which
make
this
master-apprentice relationship possible and
are natural.
The physical settings provided
are ones in which communal work is
centered on the master's efforts and where
half a dozen apprentices have workspace
closely connected to the communal work of
the studio. 78

Although most musical students will not

want their practice rooms
immediately
adjacent to their instructors', there is
something to be said about organizing
instrument-types near each other. This
includes both faculty and student.
therefore:
Arrange the practice studios of the
violinists around the violin instructor,
the
cellists
around
the
cellist
instructor, etc.
Provide a common area
for casual socializing between practice
periods and lessons.

77

43.

meditative

space

For an inner peace extending beyond

materialistic concerns, one looks to a higher
power in the psychological
environment
[32].
Meditational
individual to

needs
individual.

vary

from

Meditation can mean contemplation of a

supreme being, a philosophical thought, or
nature. It can be either a social or personal
activity, but it is one which always requires
time.
Meditational experiences can be
enhanced by silence or sounds of nature, such
as a softly blowing wind or gently running
water.
therefore:
Provide spaces for meditation according
to the desires of the people who will be
using the space.
Include the natural
environment as part of this space.

Meditation spaces can include positive

outdoor space [44], quiet backs [45],
pools and streams [46], roof gardens
[47], and courtyards which live [48].

78

44.

positive

outdoor

space

Outdoor spaces which are merely "left

over"
between
buildings
will,
in
general, not be used.^^
Positive outdoor space can be defined as that
space which has a distinct shape, similar to
that of indoor rooms. This kind of space has
meaning when its shape is as important as the
shapes of the buildings surrounding it.
Buildings that create leftover space seem
shapeless and do not seem integrated with
the built environment.
People feel comfortable in spaces which are
positive and use these spaces - for meditation,
gathering, sitting, etc. People feel relatively
uncomfortable in spaces which are negative,
those spaces so poorly defined that you really
cannot tell where their boundaries are. These
negative spaces remain unused.'" Camillo
Sitte
has analyzed a number of European
city squares to determine the difference
between those that are lively and those that
are dead. He demonstrates that the successful
squares have two design properties: they are
partially enclosed; they are open to one
another, allowing for freedom of circulation
between the spaces.

therefore:
Design all outdoor spaces surrounding
and
in
between
the
conservatory
buildings positive.
Give each space
some sense of enclosure; surround each
space with wings of buildings, natural
landscaping, trellised walks, and low
walls or fences.
Design the conservatory complex to make the
outdoors as much a focus of attention as the
buildings.
Positive outdoor space directs
courtyards which live [47] and r o o f
gardens [46].

79

45. quiet

backs

It would be preferable for students,

and staff of the conservatory to have
place to go. Even the best musicians
practicing, performing, and continual
interaction [8].

faculty,
a quiet
tire of
group

People who work with others and with

noise - no matter how harmonious the
sound - need to be able to pause and
refresh themselves with quiet in a
natural setting.
The need for such places is evident from the
number of existing walks provided in places
where people may go to think or talk
privately. Based upon human behavior in the
built environment, the activities which
happen in "front" of a building generally
involve heavier pedestrian and street traffic
than do those occurring at the back of the
same building. We can reserve the "backs"
then for quiet places protected from urban
and man-made noise. Places where one can
hear only sounds of nature - birds, the wind,
and water.

These quiet backs may lead to paths away

from, circumferencing, or weaving through
the campus. The paths should connect with
places of pools and streams [45], wooded
areas, and places with a zen view [38].
therefore:
Give the buildings on the busiest parts
of campus a quiet "back" behind them,
away from noises.
Build walks along
these quiet backs, allowing for sunlight,
but protected from noise by walls,
distance,
and
natural
vegetation.
Connect the paths with places of water,
wind, and view.

80

46. pools and

streams

Places of water offer opportunities for

meditative
space
[42] and are part of
forming positive outdoor space [43] and
quiet backs [44].
Water plays a fundamental
psychological
well-being.

iSSS^
r^.:

ti^>iys^^^"

role in our

There are no existing pools nor streams on

site. Both still water and running water forms
are essential to the design of the conservatory
for both psychological and environmental
reasons.
We know that water acts as a
natural air conditioner and humidifier,
particularly in an arid region, like the Jemez
Mountains.
Mere observance of human
attraction to pools and streams indicates the
need for a connection with water.

5*i

;r:
We often take water for granted when it
comes from the tap.
This particular
experience fails to satisfy the emotional needs
to make contact with water in natural forms;
to try to understand the power and mystery
of its natural cycle. Water is the life-blood of.
the earth, of the natural environment. Some

T.

w-

A'!."-^*
,'; ;> .

'^fi;^;!

^-Vf V-(:-.-l 3^:.i ^:

Fig. 82 - A slice of water - Louis Kahn.

81

attempt should be made to provide the

conservatory with natural forms of water streams, pools, quiet falls, rain water
channels...
therefore:
Design pools, streams, and quiet falls of
water to form natural barriers on the
campus, run along the quiet backs and
through the campus, giving the place
immediately
around
the
water
the
atmosphere of contemplation.
In light
of summer rains, design collectors for
rainwater to later allow streams to flow
above ground, channelled along garden
walks,
where it can be seen and
appreciated.
Make some pools part of
running water forms and quiet streams
through and surrounding campus.

82

47.

roof gardens

The
total
area of the
conservatory
campus which can be exposed to the
sun is finite.
Make roofs of high places
[35]
to
be
inspirational
spaces[33].
Take advantage of exposure to the sun
and mountain air.
The climate [21] of the Jemez
Mountains
[13] dictates that steep roofs are necessary as
a result of heavy snowfall
and cold
temperature.
If possible, make at least one
small roof garden on every
building,
especially in the residential and performing
areas. Roof gardens which work function as
outdoor rooms and are pleasant places to be
at.
This pattern will generate a roof
landscape in which roof gardens and steep
roofs are integrated into the design of almost
every building. An inspirational form for this
pattern is the pueblo architecture of the
Anasazi Indians, predecessors in the Jemez.
To make flat roof gardens useful and
compatible with the buildings and sloping
roofs, build the roof gardens in relation to the
interior spaces of the building. Do not make
the roof gardens the highest part of the

buildings; make them adjacent to interior

rooms where one can walk out into the
garden.
It is far more comfortable to walk
straight out onto a roof and feel the comfort
of the building behind and to one side of you,
than to have to climb special stairs to a place
you cannot see.^
Special high places are
sometimes
forgotten
by
a
building's
inhabitants.
therefore:
Design parts of almost every building's
roof
system
to be usable
as
roof
gardens.
Design these roof gardens to
be flat and terraced for planting.
Place
the gardens at various stories,
and
always
make
it
possible
to
walk
directly out onto the roof garden from
some lived-in part of the building.^ ^
Place the garden in a sunny place. Give the
roof some kind of shelter, such as colorful
canvas awnings to provide people shade from
the sun when it gets too hot. Make use of
natural vegetation [19] in the gardens.

83

48.

courtyards

which

live

As a part of the pattern established by

meditative space [42] the p s y c h o l o g i c a l
environment
[31], and positive outdoor
space
[43], it is necessary to provide
intimate spaces, of small square feet in area.
Courtyards built for the purpose of
establishing
an
artistic,
relaxed
atmosphere in some existing buildings
are actually
unused,
uninspirational,
and dead spaces.
The walls and doors of a building provide a
transition from the indoors to the outdoors. If
they are abrupt, that is there is no
in-between space either psychologically nor
physically, then there is no opportunity for a
person to pause. People need an ambiguous
in-between realm - a porch, or
veranda which they naturally pass onto often, as part
of their ordinary life so that they can drift
naturally to the outside.2
Courtyards which are pleasant to be in always
seem to allow you to see beyond them into
further spaces. They are partially open to the
activity of the building which surrounds

Fig. 83 - From Christopher Alexander's A Pattern Language.

84

them, yet are still private.

For example, a
person sitting in a courtyard can glimpse
activity outside of the space but it is not
disruptive, or at least not as much as it would
be without partially enclosing courtyard
walls.
therefore:
Design courtyards in such a way that
there is a view from it to a larger open
space.
Place them adjacent to learning
and performing spaces; locate them so
that at least two or three doors open
from the adjacent building into them.
Make sure the courtyard is in a sunny
place.
Make the courtyard into an outdoor room;
provide a zen view [38].

a
place
for
m u s i c a1
h a p p e n i n g s
A "musical
happening ' is the point at
^hich the analytical side of the mmd
'shuts
off"
and
the creative
s,de
controls
the performer's
movements
and sound.

Fig. 84 - Double-bass player at Tanglewood.

85

49. a place for

happenings

musical

Design to promote a
bond between a player
instrument.

psychological
and his/her

A place for studying music should be an

inspirational space [34] and one that is
well lit and ventilated. Technical factors to
consider when designing these spaces are
acoustics [62], volume [64], interior
materials [65], noise and vibration
control [66], lighting systems, and sound
systems (for large performing space).

therefore:
Design
to
demonstrate
technical
sensitivity to musicians' needs in their
places of work and study.

Fig. 85- Practice room, Texas Tech University, Music Building,

November 1987. One of the very few practice rooms
permitting natural light and ventilation.

86

50.

practice

Ample
number
of
should be provided
students.

studios
practice
rooms
for conservatory

"It's important to have concentrated practice

so you can focus on what's happening..."
Michael Ward, string bass
Serious music students will spend varying
amounts of time practicing at all hours.
The students interviewed indicated that on
good days 4 to 5 hours of practice may be
clocked while time and other responsibilities
on other days would allow for only 20
minutes. The importance of practicing is the
quality of work being done and the student's
attention to that work, not necessarily the
amount of time put in.
Obviously, concentration for a quality
practice session lasting several hours will be
more beneficial than several minutes of an
equal quality practice session. The goal is to
provide practice areas, both indoor and
outdoor, which provide a comfortable
climate to the student.

Fig. 86 - Example of a stereotypical uninspiring practice room TTU Department of Music, October, 1987.

87

It is often distracting to hear other

musicians, chatter, or mechanical noises
while practicing. All practice rooms should
be isolated acoustically from extraneous
noises.
Privacy is another need often
defined by students.
Some musicians are
not affected by other people wanting to
listen to their practice sessions." However,
most
musicians
in the process
of
"woodshedding"
a piece.
(repetitive
rehearsing a section of music) desire
solitude. It is usually not until the polishing
stages of a piece that most students desire to
be heard with the exception of his/her
instructor.
Practice areas should be separated from
lecture classrooms, performing areas, and
private residences.
therefore:
Provide 50 practice rooms with an
area
of
70
square
feet
each.
Acoustically insulate each space from
extraneous noise and prevent practice
room sounds from disturbing other
activities.
See the studio [63].
Furnish each room with a tuned piano,
wall mirrors, music stands, a chair,
and a small desk. Provide air

circulation systems in each studio that

can be manually controlled.
Provide
an operable window in each space to
allow for natural light and ventilation
penetration.
Instrument storage
the practice rooms.

[59] should be near

88

51.

rehearsal

studios

Rehearsal areas should be available

for use by large ensemble groups.
Large ensembles needing to use these areas
will include chamber groups, quintets,
quartets, sextets, and visiting performing
groups.
Policies for allotted time to use these areas
should be developed.
The rehearsal studios should provide storage
for sheet music, an ample number of chairs
and music stands, a grand piano, a
conductor's stand, and a chalkboard. Storage
for any conservatory performing attire
should also be provided.
The rehearsal
studios should offer large amounts of
natural light and ventilation. More than one
rehearsal studio should be provided in
anticipation of concurrent rehearsal times.
therefore:
Design two rehearsal studios each a
total of 800 - 1000 square feet of
area.
Instrument storage [59] should
be near rehearsal studios.

Exploratory
experiences
serve
to
enhance
imagination,
perpetuate
playfulness,
and
facilitate
creativity.
One
purpose
of
exploratoration
to be conveyed
to
students
is finding
the limits
of
their
abilities.

89

52.

concert

rooms
^ 5 ^ ^ 0clcripfii VI ^
Of d jiufLck-jtoorjic. '^bnlfo-rme^

A room for recitals should place the pattern

acoustics [62] a priority in the design.

With Ccnvi-ninnyt^'r JcvcruU J.-rt.' af

^nJiiors,
JrvrraUy vlnra
tn 12.
DiJbn.tJL'.'nuj
IcJ'i.lcj ihrlllti
-.
Hch-JL'^iiu- iv Wi.'ndd hau'noii:
in It hcfulcc ths Pcrfi^nncrj.
Soirlh
5

The concert rooms are to serve a

conservatory of 50 gifted
musicians.
Community members from neighboring
cultural centers such as Los Alamos and
Santa Fe will attend musical performances at
the conservatory (see regional
interest
[2 9]).
Depending upon the season (i.e.
Christmas
festivities)
and
type
of
performance,
the
average
expected
attendance for events would be anywhere
from 25 - 100 people.

I'''l'-i9

Sf'iy rrs

What is a desirable room volume for a

concert space to meet these needs?
Eighteenth-century
orchestras
were
relatively small, like the proposed number
of conservatory users.
In the confined
enclosure of the early concert room they
sounded as loud as a twentieth-century
symphony orchestra does playing the same
music in a large modern concert hall. Why?
The room volume was tailored to the type of
music performed and the size of the group
performing within it.

Stayrtr

North
Supcajin^
the.Kccrru
to
heStxl/ranijSijutirr
The IX GiiUer-yesrvculii
he Ji/fnnt
li'iuj.iiritl
BrttcrTfir
^ 711icLJ/f Gull/ri/rj
S./jftliin^
ri>aJer
tlim the Rrjl.aj
Here inn/
nrr.^

pig. 87 - Plan for an ideal music room, from Thomas Mace's

Mustek's Monument, 1676.

89

52. concert

rooms
Xj^^ !^\irnpt/\ >/i
(Y u JmfLck-}t?arru:. '^bnlf^rrme^

A room for recitals should place the pattern

acoustics [62] a priority in the design.
The concert rooms are to serve a
conservatory of 50 gifted
musicians.
Community members from neighboring
cultural centers such as Los Alamos and
Santa Fe will attend musical performances at
the conservatory (see regional
interest
[2 9]).
Depending upon the season (i.e.
Christmas
festivities)
and
type
of
performance,
the
average
expected
attendance for events would be anywhere
from 25 - 100 people.

With Ccnviriiiniru t^-r JevcraU Jj-rt.' af

^uJiiors,
S.'vrraUu vlnra
trt 12,
Hifhiu-tJL.'incj
l>c/ilrj ilirlllti-.
Mck-JL'^ni- 11' wiyuLdnau'ncn:
in It hcjuicc tLP^rfbrmcrj.
Sotrih
5

Shiyrcr

Si.iy res

J
A QaUrry for
AuAili^rs

A linUrry for

Auitiiorr
A if all fry frr

What is a desirable room volume for a

concert space to meet these needs?
Eighteenth-century
orchestras
were
relatively small, like the proposed number
of conservatory users.
In the confined
enclosure of the early concert room they
sounded as loud as a twentieth-century
symphony orchestra does playing the same
music in a large modern concert hall. Why?
The room volume was tailored to the type of
music performed and the size of the group
performing within it.

l'''!':-i9

Auaitprj

Stayrt

North

SuvppJinM the Rccrru tv he SvcJ/rarJj Sijitare

The tx GalleryeswculJ
he jyeanh L'liiiutiii
Better Ttir ^ niidj/e
Gulleryes S<-nil/in7tf
Brjiiiler
then the Rejl.aj Here ihn/
are.^

pig. 87 - Plan for an ideal music room, from Thomas Mace's

Mustek's Monument, 1676.

90

One
design concept for these "musick
rooms"*^-^
was to surround a square room
with galleries on all sides, so that the
musicians are surrounded by the audience
to give all seats equal audibility.
The
galleries separate the musicians from the
audience to avoid the inconvenience of
crowding and to keep the instruments in
tune.^^
The early concert halls, with their elegant
drawing-room atmosphere, were cultural
centers where families could have tea,
promenade, and listen to very good music.
The first concert hall ever to be designed by
a prominent architect was St. Cecilia's Hall in
the Niddry Wind, Edinburgh, which was
opened in 1 7 6 2 . '
It was raised on open
masonry arches, which formed a sheltered
lobby at street level for arriving sedan
chairs.
The hall was reached by a grand
staircase.
The oval "musical room" was
elegant, contained within a rectangular
building. Room size was 63' x 35' x 17' high.
Its seating rose in tiers, accommodating 500
listeners. An aisle was designed around the
space's perimeter for access, the cncert
platform being at one end. The area left in
the middle was used for promenading
during intermissions. Listeners faced one

V::z"a=::n::;z:::[3

i.

:a::::::;::ci:::":::cU

Ehty-anct

E^ O

Fig. 88- Plan of St. Cecilia's Hall in Edinburgh

91

another, "an arrangement much preferable

to that commonly adopted of placing all the
seats upon a level behind each other, for
thus the whole company must look one way
and see each other's backs."^^ T h i s
particular seating arrangement is similar to
the orientation of the boxes in an Italian
opera house, and emphasized the social
nature of concert going.

Fig. 89 - Comparative scale plans of the concert halls for which

Haydn composed his music, (left toright)the music rooms at
Eisenstadt and Eszerhaza, the Hanover Square Rooms, London,
and the King's Theatre Concert Hall, London.

.MUSK l^uuni,
Ebztcrhjza

Table 1 shows some dimensions of some

popular eighteenth-century English concert
halls.
Promenading is no longer a popular form of
dance, however, sensitivity to the social
importance and cultural atmosphere of a
concert should still be reflected in the
architectural design of modern concert halls.

H j n o v c r Squjrc
Rooms, London

King's T h c j i r c ,
L<inJon

Hjvdnojjt,

Room
King's Thfaire

f,

g lom

Upper R o o m . 3 j t h
Willis s Room
(tornicrly
LonJon

Hanover
SitU'ii"

Lengih

\Xidth

.\rea

[ft

[ti , m i |

Ifi- (m^)|

l^M)

48 ~n.h)

4 , 6 5 6 (1,419.1)

[il.-i

4 i 11.8)

4.410

8 i ;^.ol

40 1 1 . i l

s.iHc , 9 W - " )

80 ; 4 . 4 )

4C . 1 1 . ; )

:.,iOO i 9 - ? - 4 )

!*.

>h 11.G)

1.911. .8.S8.SI

,1 ' V . ^ l

;..-:S , c i l

9-7

mil

Room
105

a,-,44.;i

Alnuck's)
Tjvcm

Crown jiiiJ

therefore:
Design two concert rooms, one a
volume of 45,000 cubic feet (area =
2500 square feet), and a larger one of
100,000
cubic
feet
(area
= 4000
square feet).
Demonstrate

Table 1 -

Concert

Two rooms of dirrerent volumes may be

more suitable to meet acoustical needs of
varying group sizes.

tiscnstjdt

Xnthor

Square

t h e L o n j x E i > n'lerdi

l^.-l

-M , . l l

Evemni^ l*t>$t . i i i ^ h t o r u j r v ! ~ v 4

92

architectural sensitivity to the social

and cultural values of the concert
"rituals" as established by historical
precedence and tradition.
Develop
and expand on the design concept of
eighteenth-century
music
rooms,
maintaining
the
elegance
and
intimacy.

53.

reception

A reception area should be provided

for those musicians and listeners who
wish
to
converse
regarding
the
preceding performance.
A reception often follows a performance,
particularly a student recital.
Here,
compliments and criticisms are exchanged
through polite conversation.
Comments
from faculty, peers, and noted musicians are
received open-mindedly, as they are part of
a musical student's education.
This is a
festive social event for both audience and
performers. A reception is part of the pomp,
especially when nationally recognized artists
guest perform.
The room must be appropriately designed
for large numbers of people and have access
to natural ventilation as well as thermally
controlled air. Provisions for refreshments
should be moveable to any location in the
room.
therefore:
Design a reception area adjacent to the
performing stage that is a total of 600
- 700 square feet in area.

94

the

stage:

The stage should be below eye level of

listeners sitting in the first row.
Ideal
height is 2' - 6" out a distance of 3' - 6" from
the first row of seat.
therefore:
Design
the
unity
between
the
performers and the listeners through
seating
arrangement.
Design
the
concert room to permanently seat 100
in the larger space, and to seat 75 in
the smaller space.
Design the slope of
the audience
sight line to be a
minimum of 10%.
Stagger the seating
positions.
Provide
outdoor
areas
adjacent
to
hall
seating
for
intermissions during a performance.
Provide access for the handicapped.

Fig. 91 - Theater-in-lhe Round or Arena

Fig. 92 - Center Stags

'-^ --^mm

Fig. 90 - Orchestra stage setting

Fig. 93 - Open or Thrust Stage

Fig. 94 - Thrust Stage

95

55. a grand

entrance

Part of the fun of going to a musical

event is watching the arrival of people
into the concert hall.

Provide a lobby space betwen the

seating area and the entry of the hall.
Make the space 600 - 700 square feet.
Locate public toilet rooms discreetly
off this space.

Obviously, the people who attend a recital

are there for their personal enjoyment of
listening to music. Most often the dress si
semi-formal or formal, depending on the
season, the time of day the performance
takes place, and the reason for the
performance.
People-watching is an activity that is
common at these events. The first entrance
an audience member makes into the recital
hall is usually one with an air of grandeur.
No verbal announcements of one's arrival
are made.
Body language and dress
announces one's presence instead.
Both
should indicate sophistication and poise.
The few minutes before a formal concert
begins, the time when the audience is
arriving, is an event in itself.

Fig. 95 - The Arrival

, ^

;i-^''''"l < ^ ^

4+AUU

therefore:
Design
to celebrate
the pomp of
audience arrival to the concert room.
Fig. 96 - Illustration of arrival space sequence

96

56.

meeting

rooms

For intellectual learning

there will be classrooms.

14]

purposes

The larger the size of a class, the less

people participate and learn from it.
The number of people in a group influences
both the number who never talk and the
number who feel they have worthy ideas
which they have not been able to express.
Bernard Bass has conducted an experiment
relating group size to participation.^^ As is
indicated in Figure 97, one person never talks
in a group of 12, as opposed to 6 people in a
group of 24.
Similar thresholds occur when comfortable
distances for talking are established.
The
upper range for a full casual voice is 8 feet;
a person with 20/20 vision can see facial
expression clearly up to 12 feet; macular
vision includes 12 degrees horizontally and
3 degrees vertically - which allows one to
see one face at a distance of up to 10 feet
without seeing two.^^

small group will communicate more readily

in a circular seating arrangement with a
maximum diameter of 8 feet.
A
circumference of a circle of this diameter
will be 25 feet. People need approximately
27 inches per seat, so there should be no
more than about 12 people in the circle,
therefore:
Provide four lecture rooms for 12
people or less at 200 square feet each.
Shape
classrooms
like
any
other
rooms,
with
special
emphasis
on
eliminating glare, and on the fact that
the rooms should be roughly round or
square.

% unable to
express idea

- had ideas
which they
did not express

30
20
10

o
O

As established in gathering places [28],

small groups generally form themselves in
the shape of a circle when talking. Thus a

- never talked

40 T

12

size of group
Fig. 97 - from Christopher Alexander's A Pattern Language

97

57.

faculty

studios

Each
instructor
of an
instrument
should
have
his/her
own
private
studio.

p^////// ^, ,^ /~^J7^F777;7/py/// ('/'},

(^4a^
'/://,'

A studio serves as the faculty member's

office, practice room, and place for
individual instruction."^ The space should
be large enough to accommodate a studio
grand piano, a desk, storage for sheet music,
and a minimum of three people (and their
instruments) comfortably.
Larger space
requirements are necessary for piano
studios to allow for instrument size.
Because the faculty will be in their studios
most of the day, provide plenty of operable
windows for ventilation, natural light, and
peace of mind. Make the space acoustically
successful and insulated from sounds of
adjacent studios. Locate studios near each
other to promote soci alization between
faculty members.
therefore:
Design 5 faculty studios at 270 square
feet each.
Also provide a piano studio
at 300 square feet.
Ceiling height
should be 10 feet for all studios.

: h

a^UL

\t>-o

k~

16-O'
\

^ ^ ^ ^ s w < ^
Fig. 98 - The Dr. Benjamin Smith (past cellist professor at Texas
Tech University) Studio, TTU. November 1987.

98

58.

music

library

A library should be available to those

students and faculty who wish to
obtain additional information on music
and related areas.
Some people in the course of perfecting a
piece will wish to learn more about it. They
may want to hear it performed by
internationally recognized
professional
musicians. Some may wish to learn more
about the particular period the piece was
written. Faculty and students may also wish
to get a book to read or a tape to listen to for
pleasure. Topics should include:
Musical history of all periods
Musical theory
Music literature analysis
Musical scores
Composition
Instrument information
Instrument repair
Contemporary musical styles
including Rock and New Age forms
Jazz
General fiction
Foreign languages
Musical dictionaries

A loan policy to students, faculty, and staff

should be developed.
The library should also provide listening
centers for people to analyze recordings of
artists. Allow 250 - 350 square feet for tape
storage, 600 - 700 square feet for stacks,
400 - 500 square feet for a head-set
listening area, and 200 - 250 square feet for
reading areas.
These areas should offer
large amounts of natural light.
therefore:
Design a library with a total of 1400 1650 square feet.

'-

'-4'

'-o*

4'-0'

!'-

Fig. 99 - Minimum clearances for people and equipment in reading

rooms.

99

59.

instrument

storage

Instruments
used
by
conservatory
students need to be stored securely
and safely.
Stringed instruments are generally the most
expensive instruments to invest in. Security
and safety of these instruments is of utmost
importance. Locate the repair room with a
staff member immediately adjacent to
instrument storage during the day.
Provide
a direct view into the storage area from the
repair room. Keep the area well lit except
when locked-up at night. At night, this staff
member will be responsible for locking the
room where the instruments are stored.

locker with a
student with a
locker.
Develop
storage area will

lock.
Provide each
key to access his/her
a policy for hours the
be unlocked.

II

Volume size of lockers will vary with

instrument size.
Storage needs of basses
and cellos should dictate proximity of
practice rooms.
Some practice rooms
should be located on the same level as
instrument storage.
therefore:
Provide a musical instrument storage
area of 400 square feet.
Individually
store each instrument in its own

100

60. repair room

Supplies
and
equipment
to
fix
damaged instruments or those needing
additional parts need to be securely
stored and should be accessible to
students and faculty.
Small articles such as strings, screws, snakes
(used as a humidity protector in larger
stringed instruments such as cellos and
basses) may also be purchased here.
A
storage room for instruments and bows in
need of repair should be 60 square feet.
therefore:
Provide a repair room 180 square feet
in area, including storage.

Fig. 100 - Sketch illustrating space adjacency

t h e
l i s t e n i n g
e x p e r i e n c e

101

61.

the

listening

experience

Our comprehension of music and the

pleasure we derive from it depend on our
ability to perceive patterns.
As listeners,
we share common perceptual processes
which composers and performers can
take into account to lead us to perceive
one set of patterns rather than another.
The extent to which we share a common
experience of a piece depends on the
piece itself, the way it is performed, and
its audience..."^

Sfe;^.i}3i^
^&Kh

Because
music
is played
for
others'
enjoyment, attention to the technical aspects
of the physics of sound is imperative.
This
issue will be addressed by the volume 164]
and a c o u s t i c s
[62] of p r a c t i c e
studios
[50], rehearsal studios [51], and c o n c e r t
rooms [52];
interior materials [65] used,
and the seating [54] design.
The satisfaction of the listener is the
completing link in a musical experience.

,.#r?^t

Music is intended to express ideas or portray

events.
It exists to provide listening
satisfaction.""
Fig. 101 - A concert in eighlcenlh-cenlury England.

Exactly how does structural design contribute

positively to a listening experience? Through
psychological investigations of hearing, we
can rate onsets of pain, and personal tastes.

102

There are no precise figures to determine

numerical thresholds of audibility, tolerance,
loudness levels, or speech intelligibility,
because the values vary with each listener's
hearing capabilities.
Even for the same
person, these thresholds vary from day to day
and hour to hour and with age.
We are
interested in the maximum sound levels
which the ear can stand without discomfort,
tickle, or pain in the design of rehearsal and
performing halls.

Audience plays an important role in

determining the types of concert halls that
will be built in their communities based upon
their acceptability at the time of certain styles
of music.
Leo Beranek,
a well-known
acoustical specialist in architecture for music,
has conducted
many interviews
with
musicians from all parts of the world.
He
writes,"...it seems clear that today's listeners
prefer particular kinds of acoustical spaces for
the performance of music of particular
styles. -98

Traditionally the criteria used to design

studios and auditoria is based on audience
judgment
of
existing
room/auditoria
acoustical
q u a l i t i e s . " ' A summary of
currently accepted reverberation times is
shown in Figure
for rooms of various uses
and volumes.

therefore:
Design all living and working spaces
be appropriate acoustically.

The priority in designing an acoustically

successful space for music performance or
rehearsal is to transfer the music to the
listeners, preserving the musical qualities of
intimacy, definition, timbre, balance, and
dynamic levels. The space must contribute
fullness of tone, loudness, and a wide range of
crescendos and decrescendos.

to

103

65. interior

materials

The interior surface and shape of walls and

ceilings can serve to enhance or distort
sound.
Table 2 indicates the construction materials in
eight well-known acoustically excellent halls.
Some musicians are convinced that, like a violin, a
concert hall should have a wooden lining on its
inner walls.
A stringed instrument is made of
wood, the wood resonates and enhances its sound,
therefore the walls of a hall should be constructed
to do the same thing. I must admit that at the
onset of my research for this project, I pondered
the same concept. What I soon learned, not being a
violin player, is that the sound of the violin is
produced by the vibration of its strings, which
transmit energy back into the belly and back of the
instrument.
These surfaces radiate sound and
consequently must be of light weight, and highly
responsive to vibration.^^^

Table 2 - Construction materials of eight acoustically excellent

performance halls.
HaU

Contlruciion

Symphony Hall, Boaton

All walls and ceiling are of plaster, except

the stage enclosure, wliich is of woo<l that
averages more than ^ o( an inch in
thickness.
All walls and ceiling are of plaster, including the btage enclosure.
AU walls and ceiling are of plaster.
All walls and ceiling are of plaster, except
around the stage, where there is wood of
medium thickness.
All Italcony faces and ceiling are of plaster.
The box openings are highly soundabsorbent at all frequencies, owing to
people, chairs, and draperies.
AU walls and ceiling are of plaster.
AU walls and ceiling are of plaster.
Ceiling i of plaster. Side walla are wood
directly aflued to plaster.

Carnegie Hall, New York

Teatro Col6n, Buenos Aires
Grosser Musikvcreinssiial, Vienna

La Scale, Milan

Concertgebouw, Amsterdam
Sladt-Casino, Basel
Binyanei lia'Oomah, Jerusalem

104

62.

acoustics

It is the acoustical quality of a space which

can enhance or distort the colors of sound and
consequently
the listening
experience
[61].
What constitutes
music?

good

acoustics

for

Acoustics, taken in the broadest sense, is the

science of sound. Frequency, amplitude, wave
form, resonance, manner of propagation, and
responses to tones - these are some of the
things about which acousticians ask questions
and formulate answers. In a more restricted
and popular sense, acoustics is defined as
those qualities of a space that affect the
production, transmission, and perception of
music or speech 99
The pleasantness of musical sound is
dependent upon the performer's artistic
ability and the acoustical quality of the space
in which the performer plays.
Wooden
interiors, proportions of volume designed
from calculations, and age of a performing
space do not necessarily ensure the most
suitable acoustics.

Fig. 102 - Showing the paths of direct sound and several reflected
sound waves in a concert hall. Reflections also occur from
balcony faces, rear wall, niches, and any other reflecting
surfaces.

105

Certain musical qualities are affected by

acoustics. They are fullness of tone, definition,
intimacy, tone color (timbre), and dynamic
range. A tone has a certain loudness to the
listener's ear even when played in an
acoustically "dead" space.
Played in a
reverberant space, this same tone sounds
louder, and, if the reverberation continues
long enough, succeeding tones will blend with
the reverberating tones.
Consequently,
reverberation in a room not only increases
the dynamic level of tones but alsochanges
the character of musical phrases through
blending of the tones, giving continuity to the
musical line. 100
Table 3 shows a list of the
reverberation times for music
different classical periods.

preferred
for the

Isaac Stern has said:

Reverberation is of great help to a violinist.
As he goes from one note to another the
previous note perseveres and he has the
feeling that each note is surrounded by
strength. When this happens the violinist
does not feel that his playing is bare or
"naked" - there is a friendly aura
surrounding each note. You want to hear
clearly in a hall, but there should also be
this desirable blending of the sound. If
each successive note blends into the
previous sound, it gives the violinist sound

Table 3 - Construction materials of eight acoustically excellent

nails.

...

..
Reverberation
lime in seconds

Gros.ser Musikvcrcinssaal, Vienna

Tanj-'lfwood Music Shod, Lenox
Contertgcbouw, Amsterdam
.Sympliony Hall, Boston
Teatro Colon, Buenos Aires
^tadl-Casino, Basel
Carnegie Hall, New York

2.0.)
2.0,5
2.0
1.8
ca 1.8
1.7
1.7

106

to work with. The resulting effect is very

flattering.
It is like walking with
jet-assisted take-off.

There are several physical factors which

determine acoustical quality of a room of any
size.
These are volume, interior materials,
seating capacity, reverberation time, the
initial time-delay gap, and the specified use
for the hall.
Reverberation is a result of sound waves
reflecting back and forth.
If the walls and
ceiling of a room are not sound-absorbent,
such as draperies or porous materials, the
sound will bounce wall-to-wall, passing by
the listener's ear many times per second
thereby creating many modes of vibration in
the room. Reverberation time is defined as
the length of time it takes for the level of the
sound to decay 60 decibels per second.
Irregularity in wall surface will promote
reverberation.
The initial time-delay gap is the difference in
times of arrival at a listener's position
between the direct sound and the first
reflected sound.

therefore:
Design the interior shape of the rooms
for reverberation time flexibility
for
different
styles
of
music.
Analyze
existing performance halls and studios
of excellent acoustical quality to serve
as a basis for the acoustical design.
Reverberation time of all rooms for
performance is to be 1.7 seconds.
Design the volume [64] of practice studios
[50], rehearsal studios [51], and concert
rooms [52] with the guidance of acoustical
authorities.
Refer to the consulting
acoustician throughout the design and
construction phase of the conservatory.

107

63.

studios for practice

Acoustics [62] of a studio can impact the

student's perception of his/her musical sound
and therefore can encourage or discourage
his/her desire to practice, a part of studying
[5] music.
Too many times the architect "designs"
a practice room to resemble a stuffy
closet.
The term studio is derived from Latin
studium, meaning an artist's working place.
From personal past experience of high school
and junior high practice sessions in these
"rooms, I don't see how any young musician
would be able to think creatively.
Most
practice studios I have studied are 50 - 60
square feet in area, have no thermal control
for human comfort, and are boring. I suppose
slapping acoustical tiles on the walls is
meaningful for something...it certainly is
ineffective acoustically.
Some conservatories
an otherwise boring
usually found in
education. Granted,

offer nice alternatives to

experience...but these are
institutions for higher
the function of a practice

room is for a student to practice diligently,

not to admire the decor of a room. However,
wouldn't a student desire to practice more if
the space in which he were practicing was
acoustically treated, from the beginning of the
design and not as an after-thought?
If the
space were more acoustically pleasing to work
in, wouldn't the student wish to stay longer?
When various music students from Los
Alamos area were asked to recall impressions
of an ideal practice situation, they generally
agreed that a practice room is just that, a
practice room. Most students did not like to
practice in a practice room at the high school,
but preferred their own room, or even a
bathroom (for acoustical reasons).
Some
students mentioned practice situations which
were particularly positive.
These were
created as a combination of the psychological
and built environment.
Two of those
mentioned are those studios at Tanglewood
and Texas Tech. What differentiates some
private
studio acoustics over
others?
Analysis of existing private studios in their
environmental context which are aesthetic as
well as acoustically good and sound-proof
should be a basis for design decisions.

103

therefore:
Design some outside studios in addition
to inside private studios.
Each studio
should be designed to have a ceiling
height of 10'.
Volume will vary with
the user need of the space.
Interior
walls should be surfaced with plaster.
Ceilings should be designed acoustically
as shown in Figure 104, based upon Dr.
John
Allred's
solution.
Ensure
sound-proofness
of
studios
through
materials especially
manufactured
for reducing extraneous sound.

Fig. 104 - Dr. John Allred's acoustical design based upon the
original Helmholtz Resonator.

'-(TvL^

<^rsUd^

VYUXtsjryO-^

,yrrCxM^

-S^l^-^'^

109

64.

volume

The volume of a room has a major impact on

the quality of the acoustics [62].
The loudness of the reverberant sound,
which
is
directly
related
to
the
reverberation time, is inversely related
to the volume.
Based upon Leo Beranek's concert hall studies
and information I found through personal
interviews, small halls generally sound better
than large ones and are also more appropriate
for a conservatory of this size.
"The hall should bring the audience to you.
The audience should sit on the edges of its
chairs waiting to hear the faintest tones - and
they must be loud enough or the listeners lose
them and become restless. Then the magic
effect is shattered."
-Isaac Stern, violinist
A hall with a low ceiling has a low ratio of
volume to the audience area, and therefore its
reverberation time will be too short for
contemporary
symphonic
performances.
Consequently, if the cubic volume is to be

kept as small as possible for a certain

reverberation time, carpets, draperies, and
other sound-absorbing materials should be
eliminated from the hall. Table 3 shows the
reverberation times of some highly praised
halls.
Close analysis of the volume of these halls is
not relevant to this project for the reason that
they are designed for much larger audiences.
However, the response of famous musicians
and conductors who have experienced the
acoustical qualities of each hall is vali^ input.
therefore:
Proportion the cubic volume of all
performing spaces based upon similar
existing studios and halls that are
considered
acoustical
successes.
Appropriately
design
volume
of
practice
and
performance
spaces.
Avoid wasted or inappropriately small
space.
Study the volume [64] of successful existing
p r i v a t e studios [50], faculty
studios
[57], and performing areas.

110

Writes Leo Beranek,

In a concert hall, we do not want to radiate
sounds beyond the walls of the hall, but rather
we want to conserve the energy by keeping it
inside. This requires that the walls be hard and
heavy, made of plaster or masonry or thick
wood. Conu-ary to popular impression, the great
concert halls and opera houses of the world
contain very little, if any, thin wood on the walls
and ceilings - the very best of them are lined
almost entirely with heavy plaster or thick,
heavy wood - materials that keep the sound
inside for the enjoyment of the listener.

thgrgforg;
Design
irregularly
shaped
interior
walls.
Use plaster as a finishing
material.
Include
sound-absorbing
curtains that are operable as to their
percent coverage of side walls to
control reverberation times.
Avoid the
need for sound-reflecting baffles and
other
acoustical
"fixes"
through
attentive design.

111

6 6 . noise
and
control
A concert
extraneous

hall must
noise.

vibration

be

free

from

Noise from traffic, adjoining concert halls,

practice rooms, ventilating systems, and
movement of late-comers on stairways and in
passageways must be acoustically eliminated.
Isolation of listeners from all external noises
is a primary factor in good design of a hall for
music. Do not locate mechanical systems on
the roof nor in immediate vicinity of the hall.
therefore:
Isolate the location of the performance
hall from external noises.
Do not locate
mechanical systems near the concert
hall.

Fig, 106 - From Leo Beranek's Acoustics, p. 329.

112

67. sound

outdoors

"You can actually come up with a lot of

interesting and creative musical ideas when
playing outdoors."
-Gregory Henderson, trombonist

Practicing
outdoors,
weather
permitting, may sometimes prove to be
an exciting experience stimulated by
the
natural
environment,
a
lost-in-the-wilderness
effect,
away
from outside distractions.
Summer and fall in the Jemez Mountains are
comfortable seasons and find many people
outside.
An alternative to practicing inside
would be to provide places in which to
practice outside. Indeed, the acoustics in a
shell are not of the same quality as an indoor
room, but on a warm summer day at the age
of 16, the fresh air and new atmosphere may
foster more creativity.
How can a musician benefit from a "shed?"
An acoustical enclosure overhead and on
three sides not only protects one from the

I i

Fig. 107 - One possible spot for an outdoor practice shed on the
proposed site.

113

elements, but also enables the musician to

hear himself (and other musicians) since the
sounds are amplified by the enclosure and
reflected back to his ears.
If an enclosure is large enough to hold a
small chamber group, it contributes to
blending the orchestral sound.
When this
sound emerges from the enclosure it sounds
more cohesive than a collection of
instruments playing individually though in
ensemble. Figure
represents a means for
eliminating noise and
weather while preserving outdoor conditions.
Music played here is "pure", heard just as it
is emitted by the acoustical treatment. The
Shed at Tanglewood is a successful outdoor
"concert hall" and is evidence that sound
outdoors is not necessarily disruptive.
Providing a "shed" at the Pajarito School of
Music for small summer concerts would be a
nice addition to an indoor performance hall.
therefore:
Design some practice sheds to be a
total
volume
of
400
cubic
feet,
allowing for a ceiling height of 8 feet.
Isolate the practice sheds from the
performing
a r e a , the main
campus,
possible traffic noise, and the living

Sound-absorbent

jg

Arbitrary
loudness units

Fig. 108 - A means for eliminating noise and weather while

preserving outdoor "atmosphere."

114

areas.
Give them their own setting and
view away from distractions.

68. use

Also, design an outdoor performance

covered area, nestled in nature.
Make
the
enclosure
large
enough
for
chamber
groups
to
perform,
800
square feet, and provisions to seat
30-40 people.

The use of a space is determined by user

needs and the quality of acoustics [63].
Will the performance hall, rehearsal
hall, and outdoor stage be used solely
for performance?
Meeting places for conservatory participants
and guest lecturers/performers for mass
attendance will be necessary. The acoustical
design does not need to compromise for
speech purposes (which require a lower
reverberation time) as the enhancement of
musical sound is a priority for these spaces.
therefore:
Use
of
the
performance
hall
is
primarily for recitals, soloists, group
ensembles,
and
meetings
such
as
conservatory orientation, etc.
Both the
rehearsal
hall
and
the
outdoor
performance
shed
will
be
for
multi-use meeting activities.

g r o u p
l i v i n g

115

69. group

living

Certain
human
values
should
be
priority
considerations
in
designing
places for group living.
Group living is normal for human beings.
Rarely do we live in isolation - in fact,
condemning an individual to solitude is one
of the harshest emotional penalties our
society can give. Group living can also be a
source of stress, however.
Friction between individuals results from
sharing the same rooms and the same
buildings with people who have different
values, interests, and habits. It seems ironic
that, while we avoid some of our problems if
we chose to live apart, we stay together in
the social tradition of human beings. 102
Humans value personal safety, territoriality,
personal space, and friendships.
Without
these, conflicts can occur.
personal

safety:

A sense of security from the elements as well

as intruders extends beyond one's shelter. It

includes the safe use of outdoor spaces and

providing safe passing to and from the home.
territoriality:

Our individual security is influenced by

territorial feelings developed by our
neighbors and roommates toward the
common shared space, particularly in a
dormitory or apartment-cluster housing
situation.
Clear territorial boundaries both
outside and inside the living space are
important to establish.
personal

space:

The fact that individuals choose to live

together rather than in isolation does not
1 A-J

eliminate their need for privacy. "-^ All

forms of housing should be designed so that
there are some places where an individual
can be alone.
friendship

formation:

Friendships are based on shared interests

and similar backgrounds.
They are most
often formed with the people we are in
contact with.
Our contacts are generally
made where we live and where we work.

116

They are also affected by the way in which

our
living
spaces,
workplaces,
and
neighborhoods are arranged.
Functional distance plays an important part
in socialization.
If living facilities are
arranged properly, people will establish
contacts with a variety of friends and
acquaintances.
If the arrangements and
human values are ignored, their social
contacts will be limited and possibly
unmeaningful.
therefore:
C r e a t e a village comprised of the
housing units to include residences for
students, administrators, and staff as
necessary.
Address
the
outlined
human values through design of a
socially conducive arrangement of the
housing.

117

70.

student

residences

Spaces
for
studying
[5], g r o u p
interaction
[8], and sleeping should be
grouped together.

Student residences should provide a

place
for
physiological
and
social
needs.
These
areas
should
also
provide space for personal storage for
both the students and the supervisors
living with them.
The human values of
personal safety, territoriality, personal
space, and friendship formation
in
relation to teenage society should be
addressed in design of the residences.
There should be one supervisor living in an
area of 20 students. The purpose for this
arrangement is to provide students an
immediately accessible adult in case of an
emergency situation or extremely disruptive
behavior. Single young faculty members in
need of housing could be hired to live in a
private dwelling within the student complex,
their payment for this duty in the form of
free room and board.
All disciplinary
problems would be handled by the Head
Master.

Fig. 109 - Circulation in shared rooms must be carefully planned to

allow all to come and go freely.

11
i|ij

118

Design room entrances so that they afford a

clear view of traffic in and out of the
residence halls.
This arrangement will
improve building security. Excessively long
corridors with multiple exits are not as
secure and therefore affect one's sense of
personal safety.
Design that tends to
encourage personal contacts tend to be safer.
The type of facility that encourages the
formation of friendships is safer because
friends look out for each other 104
The territorial rights of the resident may
conflict with the territorial rights of the
institution which owns the residence hall.
Therefore, regulations which govern the use
of the building should be made clear.
Provide separate facilities for each occupant
- separate desks, closets, lamps, bookshelves,
floor space, and beds. If the space is shared
by two, provide equal shares of ventilation,
natural light, view, and power. Avoid use of
showers and toilets by more than five
people.
The design of the facility should
clearly indicate which areas of the room are
for each individual.
Privacy is an important human need,
whether it is for studying, meditating, or
separation from everyday jostling. Some

Fig, 110 - Each roommate should have furnishings that enable him
or her to i)ersonalize the space.

119

provisions should also be made for group

conversations that are not meant to be heard
by outsiders.
Socialization
is
a benefit
from
a,
dormitory/apartment type housing.
A
design that is small enough so that the
residents can meet one another and thus
discover each other's interests and concerns
should also be large enough so there are
social options in forming friendships.

Build low-rise structures of materials

which
blend
with
the
natural
environment.
Provide an indirectly
designed connection with faculty and
staff housing.

therefore:
Organize the residential units for 50
residents; no more than 10 per cluster.
Design entrances that focus traffic in
and out of the structure.
Provide a
lounge
area
for
casual
socializing
immediately adjacent to the entrance.
Place toilet rooms at locations where
they funnel traffic
away from the
pedestrian mainstream.
Provide an
entrance
at each
residential
room
rather than merely a door.
Allow for personalization of
living
space.
Clearly define the boundaries
of
personal
space
within
shared
residential rooms.

121

73. communal eating

Meals will be
conservatory.

served

daily

at

^^^m - ^ " / T ) , I'M

the

Meals are central to almost any type of

community residential program. At its best,
the group meal is also the time when
everyone comes together to share the
experiences of the day, to rub elbows, or to
lend a sympathetic ear.^^^ The ritual of the
"family-style"
meal
is
important
in
stimulating rapport among residents and
staff.
Simply having the meal does not guarantee
mutual
support
and
communication.
Mealtime should be made as pleasant as
possible to encourage friendships and the
development of social skills.
Because
mealtimes are generally associated with
families, a student who is prone to
homesickness is likely to experience it during
meals. Strange food - "it's not Mom's" - and
impersonal service add to these feelings.
Sufficient time should be allowed to complete
a meal and allow conversation between
students and faculty, if they decide to join
the students at a meal.

ifV.-i^^-,

^ii

Fig. 111 - Some groups And one large table conducive to

camaraderie.

Fig. 112 - Pairs of small square tables may promote interaction.

122

It takes effort to prepare a meal for 50+

people, particularly growing teenagers who
need nutritional helpings.
Oftea very little attention is paid to how the
group gets together to eat it. Roles are often
rigidly defined in that kitchen staff are the
providers and residents are the passive
consumers. If a spirit of mutual respect can
be established between staff and residents, a
lower amount of complaints on behalf of both
parties may occur.
If conversations are lively, chances are good
that the meal is a success. Dining room shape
does not necessarily guarantee lively
conversation, but the shape of the table does
help, just as the character of the room does.
Long skinny tables are rarely successful
because, if over five feet in length, they tend
to line people up in rows, inhibiting
interaction.
Round tables, on the other hand, encourage
conversations. It is easy to talk to everyone
seated at the table. Square and rectangular
tables up to five feet in length are also
conducive to conversation. They are easy to
arrange and group together to form a larger
surface.

Putting four tables together to make one big

square creates more options for use. You can
be part of the group without the overbearing
intimacy that small tables may force.
Each
corner
can
support
its
own
conversation, yet it is easy to join in from
across the table.
The importance of the arrangement of the
dining hall is to reinforce the connection
between each person and the group as a
whole.
It represents camaraderie.
The
rituals of mealtime carry over to other
aspects of community living as well.
In
teenage society [30] it is painfully critical
that we all "fit in" and are part of an
acceptable group.
therefore:
The dining hall of 1200-1500 square
feet should be arranged in varying
groups of 4, 8, and 12 in a way so that
all the persons at a table can be
involved
in conversation
with
one
another.
Allow for flexibility of table
arrangement.
Food preparation [75] is an activity which
should be adjacent to the dining hall.

123

74.

conservatory
administration

Advisory Board
of Musicians

A well-run conservatory requires an

organized, qualified, and cooperative
staff and faculty.

Head Master

Secretary

The conservatory's
administaration
as
illustrated in Figure
is headed by the Head
Master. He/she is supported by the school
business administrator who is in charge of
housing and maintenance personnel.
The
dean of students in charge of student
personnel is also responsible to the head
master. This staff member keeps records of
admissions, acts as a counselor, and serves as
the advisor for placement of conservatory
students
in higher
education
private
conservatories such as Julliard and the
Eastman School of Music.
A conservatory
secretary will serve as an aid to all faculty
and staff positions.
The cook will be responsible to the Head
Master and will be assisted by four student
kitchen staff.
Maintenance staff will consist of one
groundskeeper, two general maintenance
workers and two custodians.

School Business
Manager

IDean of Students

Faculty

ii I

ousihg ani
Maintenance! fcood Service]

Students

Fig. 113 - Diagram of conservatory adminisUation.,

124

Admittance to the conservatory is based

upon a student's grades, completion of
academic requirements through 10th grade,
and an audition.
Jury members of the
audition will include the instructor of the
student's instrument and the Head Master.
Admission to the conservatory is based upon
a student's talent, potential for musical
growth, and genuine interest in pursuing a
career in music performance or composition.
therefore:
Design the conservatory c a m p u s and
residences with the organization of the
administration in mind.
f

125

75.

administrator's

offices

The Head Master will need an official

place from which to conduct business.
The school business manager, dean of
students, and
conservatory
secretary
will need offices near the Head Master.
Provisions
for
storing
conservatory
records will need to be adjacent to
these
offices.
head

master:

The Head Master will be involved in public

advertisement, fund-raising, and hiring and
supervising faculty and staff members. He
will participate on student audition juries
and therefore should be an accomplished
musician himself. He will also perform with
faculty members in faculty recitals.
This administrative position requires much
people contact; thus he/she will need a place
where he can take care of business by
private
telephone
and
personal
communication.
His office will require a
desk, four chairs, a small meeting table, a
telephone, and shelf space for books.

Large amounts of natural light should also be

provided for. Storage space for bound copies
of records should be near this office.
school

business

manager:

The school business manager will be

responsible for the use of funds and facilities.
He/she will be in charge of hiring new staff
members. A part-time nurse will also report
to the school business manager as will food
service and maintenance personnel.
dean

of

students:

The dean of students will be responsible for

student admissions, counseling of students,
and
placement
in appropriate
private
conservatories for higher level education.
He/she will need space for small group
meetings.
secretarial

aid:

A secretary will manage the school's office,

serve as receptionist, and perform general
secretarial duties for the Head Master.
He/she will need a desk, a computer with a
printer, 2 chairs, bookshelf space, and
immediate access to a copy machine.

126

All personnel will need access to:

copy machine
general office storage
natural light and ventilation
a drinking fountain
toilet rooms
therefore:
Provide the head master with 175
square feet of office space, the school
business manager and dean of students
each with 130 square feet.
The
secretary should be centrally located
in the administrative area in an office
of 80 square feet.

136

85.

utilities

Utility companies provide electricity,

gas,
telephone
communications
and
water to the area.

r---.

\-^:

A -'. y

Present and proposed utilities of the Los

Alamos National Laboratory and the Santa Fe
National Forest are shown in Figure 119 .
Existing power lines come within 200 yards
of the site. The proposed utility corridor is
located close to the site's periphery.

25

,x

a\

'I

Phone lines are also available at the 200 yard

point. Mountain Bell is the vendor.
Gas is provided by Los Alamos County. This
connection is found at the existing water
tanks along West Jemez Road.

irrow
Pil

. ;u<'

IV.

^^:-^mM%^
- \!(^'^T.. - I

r*^'

^y,

"I.

"Pan

Los Alamos County is the vendor for power.

therefore:
Connect
conservatory
utilities
to
existing
sources
of
power,
communications, gas, and water.

Fig. 119 - Map illustrating present and proposed utilities on the

proposed site.

127

76. food prep and storage

Food
meals

preparation
is
necessary
at the conservatory.

for

It is important that food preparation and

storage areas are kept free of dirt and grease
and are well-lighted and ventilated for
protection from rodents and vermins.
No
food will be stored on the floor. Food storage
will be easily accessed by kitchen staff.
Perishable foods will be kept at a maximum
temperature of 45 F. All refrigerators and
freezers should have thermometers in order
to
easily
check
and
maintain
the
temperature.

The cook will be responsible for meal

planning and responding to dietary needs of
conservatory students.
He/she will keep a
record of menus and inventories of food
supplies purchased.
Fig. 114 - From A Pattern Language

Garbage pick-up will occur bi-weekly

prevent trash build-up and odors.

to

therefore:
Provide
1400-1600
square
feet
of
usable area for food preparation and
storage.

128

77. medical

aid

A part-time
nurse
will
conservatory twice weekly.

visit

the

The nurse will need an examination room

and locked storage for medical supplies.
He/she will attend minor medical needs and
accidents.
Accidents or health problems
needing further attention will be taken to
Los Alamos Medical Center.
therefore:
Provide an area of 100 - 115
feet for medical activities.

square

129

7 8 . cleaning
and

maintenance

n
1

J
' A.
Proper
cleaning
and
maintenance
, .
.
,
J
X
sustains property values, and creates
an
atmosphere
of
wholesomeness
which
gives
students,
staff,
and
visitors a favorable impression of the
conservatory.
A daily maintenance routine will be in effect
to provide clean, safe, sanitary conditions on
the campus.
Garbage disposal areas should
be kept clean, safe and sanitary.
Housing in the residential area will be
provided for one maintenance staff member
should he/she need to stay overnight.
The groundskeeper will attend the site on a
daily schedule similar to that of the
maintenance people.
Custodial staff will be responsible for
cleaning all practice studios, rehearsal
studios, concert rooms, classrooms, hallways
of student residences, and the dining hall.

therefore:
Provide
general
storage
space
for
cleaning supplies and equipment
for
custodial
services
at
student
residences
and
the
conservatory
t ^
^ ^
j
buildings of 40 - 70 square feet in
" 6
M

130

79. grounds

storage

Supplies and equipment such as trash

bags, lawn mowers, gardening tools, a
snowblower, chemicals, etc. need to be
stored securely and in a safe manner.
All flammable materials, gasoline, and
kerosene will be appropriately stored in
covered, plainly labelled containers.
These
materials will be used only by maintenance
staff trained and experienced in safe usage.
therefore:
Provide a safe supply and equipment
storage area of 250 square feet.

80. garage
An
area
vehicles is
maintenance

for
conservatory-owned
needed for parking and
reasons.

Four vehicles owned by the conservatory will

be kept on site. These include two small
school buses (39'-6" x 8'), a suburban
4-wheel drive vehicle (20' x 7') and a
pick-up truck (18' x 7').^^'^
The school buses will be driven by
conservatory faculty and staff when taking
students on excursions/field trips to cultural
events in the area.
Transportation to Los
Alamos High School for academic classes is
the responsibility of the Los Alamos Public
Schools.
therefore:
Provide 1500 to
vehicle storage.

1600

square

feet

for

I
i
I.

131

81.

building

support

The functioning of the complex depends upon

the capability of the building support
systems. Because of the location of the
proposed site, special attention should be paid
to the impact on the e n v i r o n m e n t a l
context [12].
Construction of the conservatory will
observe
necessary
codes
and
regulations in an aesthetic manner to
ensure
proper
functioning
of
the
facility.
Humans build.
What they build gives
evidence of the values of society. How they
build
depends
upon
the
extent
of
t e c h n o l o g y 108 Human comfort depends
upon technology.
The conservatory should
function
efficiently
and with minimal
maintenance.
therefore:
Integrate
support
systems
unobtrusively; do not compromise high
quality performance of these systems
for artistic form.

Fig. 1 IS - Paved roads are not necessary nor desirable for

emergency access onto the site. "Green streets" are a feasible
alternative solution.

132

82.

building

regulations

Constructed
buildings
are
to
meet
requirements of local regulations which'
follow guidelines stated in the UBC.
V* -

'

plaitcc

The purpose of following

regulations is to structurally
safety of human beings.
requirements are added to ensure
is not disturbed.

building
ensure the
Additional
that nature

*"-r-N

^t-S^^^^

canvas

;'.^."-. '

(f: '

lightweight concrete

shingles

Building

requirements:

All buildings and structural features

shall be sited, constructed, and finished
in a manner to cause minimum
disruption of scenic views.
Locate all site improvements to utilize
existing vegetation.^'^^
Avoid locating improvements over rock
or organic soil in order to minimize
costly excavation
and
foundation
problems.^ ^^

tiltts

1" planks

Fig. 116 - from A Pattern Language

134

83.

water

regulations

the northwest side of the site, as

indicated in Figure 117, where it is not
visually distracting.

Developers shall be responsible for the

design of drainage and erosion control
systems required to direct and control
all
permanent
and
seasonal
water
sources.
Provide water suitable for
human use and
drinking, and the n a t u r a l e n v i r o n m e n t
[15]. Regulations must be placed on water
treatment.
Guidelines
1,

therefore:
Minimize
disturbances
of
natural
drainage
patterns.
Install
water
storage and pumping station facilities.
A
percentage
of
cost
for
these
installations might be absorbed by the
Los Alamos National Laboratory since
the
proposed
water
tank
has
the
highest pressure head in the local area.

to follow:

Locate
buildings
drainage systems.

around

Development shall take

minimize erosion problems.

natural

place

to

All road cuts and fills shall be replanted

or reseeded with native high altitude
Southwest grasses.
A water storage tank will be provided
for the conservatory water supply. It
shall provide a minimum head pressure
of 50 psi. The tank will be located on

Fig. 117 - Map illustrating location of water tanks for conservatory

use.
o ^fxj -jx)
4o

133

Use indigenous building materials of

textures, colors, tones, and composition
that
blend
harmoniously
and
inconspicuously.
Arrange vehicular circulation systems
on the site to follow contours rather
than to oppose them.^^^
Towers, antennae, buildings, and other
structures, unless completely screened
from vehicular approach, are prohibited
if they block, impede, or otherwise
impinge mountain, mesas, and canyon
views.
Use materials which are small in scale,
easy to cut on site, easy to work on site
without the aid of huge and expensive
machinery, easy to vary and adapt,
heavy enough to be solid, longlasting or
easy to maintain and yet easy to build,
not needing specialized labor, not
expensive in labor, and universally
obtainable and cheap.^^^

therefore:
The facility should conform to the
standards of the UBC.
Use ultra-light
weight
concrete,
earth-based,
and
organic materials which are easy to cut
and
modify
on site.
Avoid
tall
structures.
A maximum height of three
stories is advisable.

11

135

84.

sewage

regulations

The purpose of sewage disposal regulations

and water regulations [83] is to ensure
suitable water quality.
Prior to approval by the New Mexico
State
Board
of
Commissioners
regarding final plans for an economical
and practical method of sanitary waste
disposal must be available.
Guidelines

to

area as indicated in Figure 118. These

lines belong to the Department of
The sewage is processed at a local
plant (owned by Los Alamos County)
elsewhere in Los Alamos County.

existing
Energy.
sewage
located

therefore:
Use natural slopes for construction of
sewer lines, below the facility and
minimally 100 feet away from any
water supply well.

follow:

1. Sanitary sewer lines must slope to

provide velocities of 2-1/2 to 10 feet per
second in order to transport solid waste.
Grades to accomplish this vary between
1/2 and 2 percent 113

Layout of sewer lines must respect the

natural topography in order to remain 10
feet underground properly and avoid the
need for pumping uphill.^ ^"^
3.

After suitable arrangements are made

with the Department of Energy, sewer
lines shall connect to existing lines
of Los Alamos National Laboratory in the

>

\-:,^;of^

-. J

7 /

^^'

V I ^
I.J

\
ry,:
' . K>, X

\1\^^V^^/

Fig. 118 - Map illustrating sewer line connection for conservatory

use.

appendix
a :
economic
analysis

138

SITE COST:
site

appreciation rate is 15% per yeaj

initial cost per acre = $18,000.0(
60 acres

year
initial
year 1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

total cost
$1,080,000.00
162,000.00
186,300.00
214,245.00
246,381.00
283,339.00
325,840.00
374,716.00
430,923.00
495,562.00
569,896.00
655,380.00
753,687.00
866,740.00
996,751.00
1,146,263.00
1,318,204.00
1,515,934,00
1,743,324,00
2,004,823.00
2,305,546.00

137

86.

parking

It is necessary
employees and

to provide
visitors.

parking

for

Parking for the Head Master and those staff

members living on site will be near their
residences.
Other faculty and visitors will
park in the main parking area however.
Visitors who attend concerts must also have
a place to park their cars.
Provisions for
handicapped parking will be included.
therefore:
The parking area should provide a
total of 75 - 90 spaces.
Two of these
shall be designated for handicapped
persons.
The parking area should be
convenient
for
use
of
both
the
performance hall and the conservatory
campus.
Fig. 120 - July 1987. Parking area should not be visually
distracting from the conservatory nor the residences.

139

CONSTRUCTION COSTS:
construction
student residence (25)
admin, residence
faculty apartments (3)
kitchen and dining hall
concert rooms (large)
concert rooms (small)
outdoor concert shed
meeting rooms (4)
inside studios (50)
outdoor sheds (5)
library
faculty studios (5)
rehearsal studios (2)
instrument storage
repair room
staff offices (4)
nurse's office
garage
grounds storage

total cost

so.ft.
5,000.
2,400.
3,600.
3,000.
6,000.
4,000.
800.
800.
3500.
200.
1,600.
1,650.
2,400.
400.
180.
490.
100.
1,600.
300.

cost per sq.ft.

$60.00
60.00
60.00
80.00
90.00
90.00
35.00
85.00
60.00
35.00
90.00
60.00
90.00
50.00
60.00
80.00
80.00
60.00
50.00

total cost
300,000.00
144,000.00
216,000.00
240,000.00
540,000.00
360,000.00
25,000.00
68,000.00
210,000.00
6,000.00
144,000.00
99,000.00
144,000.00
20,000.00
28,800.00
39,200.00
5,000.00
80,000.00
15,000.00

$2,684,000.00

140

SITE WORK:
CQHStr,
parking
road

sq. vds.
30,000.
30,000.

cost p?r sq. yd.

$30.00
15.00

water/sewage supply to include two pumping stations

water storage tank based on 100 gal/person/day
power supply
total cost

total cost
$ 9,00,000.00
450,000.00
1,000,000.00
25,000.00
200,000.00
$2,575,000.00

VARIABLE COSTS:*
cost
head master**
dean of students
school business manager
secretary
violin instructor**
viola instructor**
cello instructor
suing bass instructor
piano instructor
maintenance
maintenance helper
nurse
custodian
cook
cook helper
groundskeeper
staff fringe benefits
total cost

time oeriod
12 months
tt
II
II
II
II
II
II
II
II

part-time, 12 months
II

12 months
" (48hrs/week)
II
II

total cost
26,600.00
23,400.00
25,256.00
15,008.00
18,800.00
18,800.00
22,400.00
22,400.00
22,400.00
17,952.00
7,332.00
9,100.00
14,415.00
16,573.44
14,202,24
14,644.00

14% of salary
$ 329,472.17

141

FIXED HOLDING COSTS:

cost
property taxes
maintenance and repair

total fixed holding cost

rate

amount

per year

$30,000.00
5,000.00

per year

$35,000.00

FIXED OPERATING COSTS:

ilSl
insurance
administrative and office
advertising (naU.)
sinking fund
total fixed operating cost

rate
per year

per year

amount

$15,000.00
5,000.00
5,000.00
10,000.00

$35,000.00

142

NET PROFIT:
cost:
fixed holding cost
fixed operating cost
variable costs

# of users

rate

total costs

income:
tuition ($6,000 per term)
room and board
recital admission (25)
gross income
less total cost

net profit

cost
per year

per year

50.
50.
200.

3 terms/year
M
II

per year

per year

mcome

$35,000.00
35,000.00
329,472.17

$399,472.17

900,000.00
225,000.00
20,000.00
$1,125,000.00
399,472.17

$725,527.00

143

OPENING COSTS:
^Q^
site cost
consmiction cost
site work
total opening cost

years to pay off

donations

future graduates endowment (10 years from opening)

tfllal
1,080,000.00
2,684,000.00
2,575,000.00
6,339,000.00

8.5

100,000.00

1,000,000.00

* salaries based upon salary schedule for Los Alamos PubHc Schools, p.l
Section 3 of Los Alamos Public Schools Personnel Manual. 1987-898 school year.
Employee benefits: Section 4.
** housing provided

a p p e n d i x
b :
a c t i v i t y
s u m m a r y

1. concert rooms
2. custodial storage
3. dean of students office
4. dining hall
5. faculty apartments
6, faculty studios
7. food preparation
8. food storage
9. game room
10. garage
11. general storage
12, grounds storage
13. head master office
14. head master residence
15. instrument storage
16. kitchen
17. laundry facility
18. lobby
19. lounge
20. mailroom, duplication, misc.
21. meeting rooms
22. music library

o oo
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o ooo o O o o o
o oo o o O o O o
0

oo

o o

11. ensemble playing

9. eating

10. eliminating

o Oo o o o
o
o
o oo
O
o oo o oO
o
o o
oo O
o
Oo
o

8. driving

7. duplicating (xerox)

6. drinking

5. dressing

4. cooking

3. cleansing

1. applauding

9. territoriality

8. solitude

o O o o o
o O o
o o o o O o
o O
O O' O O
O o
Oo o o o O o O o

activities

2. cleaning-up

7. security

6. privacy

5. personal space

4. natural ventilation

space

3. natural light

O often

2. inspiration

needs

1. friendship formation

Key:
O seldom
O ' occasionally

o
O o
OO O O
O

o
o o
O o

o
o
O
o
o oo o o o O O O
o
ooO o o O
o
oo
o
Oo
o
o o
o O o o
o o o
o
o
o
o

O O

2. custodial storage
3. dean of students office
4. dining hall
5. faculty apartments
6. faculty studios

35. talking loudly

34. sweeping

33. studying

32. storing

31. standing

30. sleeping

29. sitting

27. resting
28. running

26. relaxing

24. reading
25. receiving bulky items

22. playing games

23. practicing

21. performing

20. people-watching

19. pacing

18. moving chairs and stands

17. memorizing

16. listening with headsets

15. listening

o O O O O O O O oo O O O Oo O o
o
O
o
o o
oo o o o o o O
o
O
o o
oo
o O o oo
O
o o
o o
oo Oo o oOo o
O o o o
O o o o Oo o
oo! oo o o o Oo O
O
oO
O o
o
o
o
O
o
Oo
o
o
oo o o o
Oo
D
o o o o
o
O
o
O
i O
oO o o
o
O
o
0
o
o
o o
o
O!
o
oa
O
o
0 o o O
o
O' O o o o
oo o o
ooo o o
o
o iO
o o o OOo
"ol i
oo
o O o
o
O 1 i
Oo o o o
\ P
o
o o
o o o O o
o o
oO
oOo
Oo O o o O
o
o
0 0 oo
o
O
0 o o
o
O o oo
o
o
o
Oo o
o OO 0 o
O

7. food preparation
8. food storage
9. game room
10. garage
11. general storage
12. grounds storage
13. head master office
14. head master residence
15. instrument storage
16. kitchen
17. laundry facility
18. lobby
19. lounge
20. mailroom, duplication, misc.
21. meeting rooms
22. music library

(2)136. talking quieUy

1. concert rooms

14. heavy lifting

space

12. filing
O |13. fixing broken instruments

activities

145

1
1

1
1

1
i

^;

1
1
1

24. outdoor gardens

25. outdoor performance shed
26. outdoor practice sheds
27. parking
28. practice studios
29. receiving/loading area
30. reception
31. rehearsal studios
32. repair room
34. seating area
35. secretary office
36. shower rooms
37. sound control booth
38. staff residence
39. stage
40. student residences
41. toilet rooms
42. wardrobe storage

11. ensemble playing

10. eliminating

9. eating

8. driving

6. drinking
7. duplicating (xerox)

5. dressing

4. cooking

3. cleansing

1. applauding

9. territoriality

8. solitude

7. security

6. privacy

4. natural ventilation

5. personal space
0

|o

OlO

33. school business manager office

o O o OO o o
o
o
o
o
O
o o o o
O o
o O o o 0 OO o
o o o !o
O ooooo o
Op
o
o o
O
o o o o o o ol
o O O o o o!
o io o O
op 0 o O O o O
o! o o o
o o O o o O O o,o
o
o o O0 o \o
o
o o olo
o O 0|o 0 o
o
o o O oo o 0 O O
O o o OO
o o
o o

activities

2. cleaning-up

23. nurse's office

3. natural light

space

2. inspiration

needs

1. friendship formation

146

O i o

Oo
,o
o
o O
o
0O

O
o
O
O
-

o
O

oo

oO
o
oo 0
o
o
o 0 oo o
0O
OO O 0
oO o
o
O
i

o
o
O

o
O

O
O

23. nurse's office

24. outdoor gardens
25. outdoor performance shed
26. outdoor practice sheds
27. parking
28. practice studios
29. receiving/loading area
30. reception
31. rehearsal studios
32. repair room
33. school business manager office
34. seating area
35. secretary office
36. shower rooms
37. sound control booth
38. staff residence
39. stage
40. student residences
41. toilet rooms
42. wardrobe storage

36. talking quieUy

35. talking loudly

34. sweeping

33. studying

32. storing

31. standing

30. sleeping

29. sitting

28. running

27. resting

26. relaxing

25. receiving bulky items

24. reading

23. practicing

22. playing games

21. performing

20. people-watching

19. pacing

18. moving chairs and stands

17. memorizing

16. listening with headsets

15. listening

14. heavy lifting

13. fixing broken instruments

space

12. filing

activities

141

O o o
o 0
o
o
o
o o o
o O o o O OO o o O O
o
O o oO o o O o o O o o o o
o
oo o o o o O o o oo o O o O o o o
oo o
oo
o
O
o
o
o oo
oo o o
O oOo O O
o
O
OO
oo
o
o O
oOO
0
O
o
o
O o
o o
O o oo o
Oo O 0 0 ooO oOo
o oO
O O
ooO
o
Oo o
o
oo
O
O o o o
o oO
O
Oo
O
o
O
o
O
O
oo
o
O
O oo
O o o o oO
o
o
o
oo
o
o
oo
o oo oo
O
O
o o
O
o
o
o
o o
o O
OO
O o ooo
o
Oo
o o O o O o o O o o ooo o o
O o o o O
o o
o
O o
oo o O oo
o
o

O
o
O

148

NOTES:

1.

CM. Deasy, Desiening Places for People. Whitney Library of Design, New York, 1985, p. 96.

2.

"Arts, Education, and Excellence", Senator Claiborne Pell, Design. November/December '84, p. 23.

3.

Ivan Illich, Deschooling Society. Harper & Row, New York, 1971, p. 76.

4.

Op. cit., "Arts, Education, and Excellence", p. 23.

5.

Op. cit., "Arts, Education, and Excellence", p. 24.

6.

Op. cit, Deasy, p. 101.

7.

Op. cit., Deasy, p. 98.

8.

Howell, Cross, and West, Musical Structure and Cognition. Academic Press Inc., Ltd., London, 1985, p. 1.

9.

"Unexcused Absence: The Arts in Public Schools", Patricia E.Mitchell, Sept/Oct '85, p. 44.

10. "The Deeper Ritual of Our Bones", Ernest Boyer, Design. November/December '85, p. 29.
11. Op. cit., "Arts, Education, and Excellence", p. 23.
12. Op. cit., "Arts, Education, and Excellence", p. 23.
13. Op. cit., "Arts, Education, and Excellence", p. 23.
14. Op. cit., "The Deeper Ritual of Our Bones", p. 46.
15. "The New Curriculum", Susan Sgorbati, Design for Arts in Education. Sept/Oct '85. p. 47.
16. Op. cit., "The New Curriculum", p. 47.
17. Op. cit., "Unexcused Absence: The Arts in Public Schools", p. 45.

jj ji

H9

18. Op. cit., "The New Curriculum", p. 46.

19. Op. cit., "The New Curriculum", p. 47.
20. Johann Wolfgang von Goethe in Mind and Image. University Press of Kentucky, Lexington, Kentucky, 1976, p. 10.
21. Santa Fe National Forest Mays, U.S. Dept. of Agriculture Forest Service, 1976.
22. Roland A. Pettitt, Los Alamos Before the Dawn. Pajarito Publications, Los Alamos, NM, 1972, p. 6.
23. Dorothy Hoard, Los Alamos Outdoors. Los Alamos Historical Society, Los Alamos, NM, 1981, p. 66.
24. Paul H. Wood, Site Design. Architecture License Seminars, Inc., Los Angeles, 1984, Chapter 3, p. 3.
25. Leslie P. Amberger, Flowers of the Southwest Mountains. Southwest Parks and Monuments Assn., 1982, p.l 1.
26. Op. cit.. Hoard, p. 80.
27. Op. cit.. Hoard, p. 70.
28. Jerry Williams, New Mexico in Maps, second edition. University of New Mexico Press, Albuquerque, NM, 1986, p. 45.
29. Op. cit., Williams, p. 38.
30. Op. cit., Williams, p. 45.
31. Op. cit.. Wood, Chapter 1, p. 14.
32. Op. cit., Williams, p. 60.
33. New Mexico Highway Geologic Maps. New Mexico Geological Society, Roswell, NM.
34. Op. cit., Pettitt, p. 10.
35. Op. cit., Deasy, p. 10.
36. Rudolf Moos, The Human Context: Environmental Determinism of Behavior. John Wiley and Sons, Inc., 1976, p. 285.
37. Ibid., p. 278.

150

38. Op. cit., Deasy, p. 98.

39. "A Case for Arts Schools", Bruce Galbraith, Design. September/October '85, p. 7.
40. Op. cit., "A Case for Arts Schools", p. 6.
41. Ibid., p. 6.
42. Op. cit., "A Case for Arts Schools", p. 6.
43. Christopher Alexander, A Pattern Language. Oxford University Press, New York, 1985, p. 610.
44. Ibid., p. 611.
45. Ibid., p. 610.
46. Ibid., p. 613.
47. Op. cit., Deasy, p. 89.
48. Ibid., p. 10.
49. "Conference Behavior", Columbia University Forum. Summer, 1967, pp. 20-25.
50. Op. cit., Alexander, p. 859.
51. Op. cit., Williams, pp. 174-175.
52. Bill Jamison, Santa Fe: An Intimate View. Milagro Press, Santa Fe, NM, 1982, p. 3.
53. Op. cit., Williams, p. 175.
54. Op. cit., Alexander, p. 416.
55. Ibid., p. 417.
56. Ibid., p. 418.

151

57. Ibid., p. 418.

58. "The Significance for Music Education of Johan Huizinga'd Study of tiie Play Element in Culture", Sandra Ensley,
Canadian Journal of Research in Music Education. Vol. 29, August "87, p. 2.
59. Ibid., p. 2.
60. "Arts Education: The National Consensus", John Brademus, Design. November/December '85, pp. 25-27.
61. Op. cit., "The Deeper Ritual of Our Bones", p. 30.
62. Rudolf Moos, Evaluation Educational Environments. Jossey-Bass Publishers, San Fransico, 1979, p. 6.
63. A.E. Bye, Art into Landscape. Landscape into Art. PDA Publishers Corporation, Meza, AZ, 1983, p. 160.
64. Sir George Sitwell, On the Making of Gardens. Charles Scribner and Sons, Reprint Aug. 1951 (London 1909).
65. Op. Cit., Alexander, p. 316.
66. Op. cit., Alexander, p. 834.
67. Op. cit., Alexander, p. 837.
68. Op. cit., Alexander, p. 615.
69. Ibid.
70. Op. cit., Alexander, p. 616.
71. Ibid., p. 617.
72. Op. cit., Alexander, p. 643.
73. Ibid.
74. Ibid.
75. Op. cit., Alexander, p. 883.

152

76. Op., cit., Alexander, p. 888.

77. "Excellence and the Classroom", Russell P. Getz, Design, vol. 85, March/April '84, p. 39.
78. Op. cit., Alexander, p. 413, p. 518.
79. Ibid., p. 518.
80. Op. cit., Alexander, p. 577.
81. Op. cit., Alexander, p. 517.
82. Op. cit., Alexander, p. 562.
83. Information gathered from interviewing various musical students from Los Alamos, NM.
84. Op. cit., interviews.
85. Michael Forsyth, Buildings for Music. The MIT Press, Cambridge, 1985, p. 27.
86. Ibid., p. 25.
87. Ibid., p. 53.
88. Op. cit., Forsyth, p. 53.
89. Brown, Fleissig, and Morrish, Building for the Arts. Western States Art Foundation, Santa Fe, 1984, p. 115.
90. Op. cit.. Brown, Fleissig, and Morrish, p. 115.
91. Bernard Bass, Organizational Psychology. Allyn, Boston, 1965, p. 200.
92. Op. cit., Alexander, p. 714.
93. Personal experience; 1 have taken private music lessons since age 7.
94. Personal interview with Mike Ward, bassist, indicated this need.
95. Cross, Howell, and West, Musical Structure and Cognition. Academic Press Inc., Ltd., London, 1985, p. 21.

153

96.

Ibid., p. 33.

97.

V.O. Knudsen, Architectural Acoustics. John Wiley and Sons, Inc., New York, 1932, pp. 408-414.
V.O. Knudsen and C M . Harris, Acoustical Designing in Architecture. John Wiley and Sons, Inc., New York, 19050, pp.
192-195.

98.

Leo Beranek, Acoustics. American Institute of Physics for the Acoustical Society of America, 1986, p. 43.

99.

Leo Beranek, Music. Acoustics, and Architecture. John Wiley and Sons, Inc., New York, 1962, p. 31.

100. Op. cit., Music. Acoustics, and Architecnire. p. 35.

101. Op. cit.. Music Acoustics, and Architecture, p. 9.
102. Op. cit., Deasy, p. 40.
103. Op. cit., Deasy, p. 41.
104. Op. cit., Deasy, p. 59.
105. Architecture, Research, Construction, Inc: Communitv Group Homes. Van Nostrand Reinhold Company, New York,
1985, p. 37.
106. Op. cit.. Community Group Homes, p. 168.
107. Architectural Graphic Standards. Seventh Edition, John Wiley and Sons, Inc., New York, 1981.
108. Caudill, Pena, and Kennon, Architecture and You. Whitney Library of Design, New York, 1978. p. 153.
109. Op. cit.. Wood, Chapter 5, p. 23.
110. Ibid.
111. Ibid.
112. Op. cit., Alexander, p. 956.

154

113. Op. cit., Wood, Chapter 4, p. 25.

114. Ibid.

155

BIBLIOGRAPHY:
Site:
Arberger, Leslie P.: Flowers of the Southwest Mountains. Southweat Parks and Monuments Assn., 1982.
Bye, A.E.: Art into Landscape. Landscape into Art. PDA Publishers Corporation, Mesa, AZ, 1983.
Hoard, Dorothy: Los Alamos Outdoors. Los Alamos Historical Society, Los Alamos, NM, 1981.
New Mexico Highway Geologic Map. New Mexico Geological Society, Roswell, NM.
McHarg, Ian L.: Design with Nature. The Natural History Press for The American Museum of Natural History, New York,
1969.
Sante Fe Natl. Forest Maps. U.S. Dept. of Agriculture, Forest Service, 1976.
USGS quadrangle maps: Valle Toledo, Frijoles, Bland, and Guaje Mountain quadrangles.
Williams, Jerry L.: New Mexico in Maps, second edition. University of New Mexico Press, Albuquerque, NM, 1986.
Wood, H. Paul: Site Design. Architecture License Seminars, Inc., Los Angeles, 1984.
Whitney, Stephen.
Historical Influence on Site;
Ferguson, William and Rohn, Arthur H.: Anasazi Ruins of the Southwest in Color. University of New Mexico Press,
Albuquerque, 1987.
Jamison, Bill: Santa Fe. An Intimate View. Milagro Press, Santa Fe, NM, 1982.
Pettitt, Roland A.: Los Alamos Before the Dawn. Pajarito Publications, Los Alamos, NM, 1972.
Warren, Nancy Hunter: New Mexico Style. Museum of New Mexico Press, Santa Fe, 1986.

156

Acoustics:
Alh-ed, John C: An Introduction to Architectural Acoustics. Exceptional Books, Ltd., Roswell, NM, 1987.
Beranek, Leo L.: Acoustics. American Institute of Physics for the Acoustical Society of America, 1986.
Beranek, Leo L.: Music. Acoustics, and Architecture. John Wiley and Sons, Inc., New York, 1962.
Jordan, Vilhelm L.: Acoustical Design of Concert Hall and Theatres. Applied Science Publishers, Ltd., London, 1980.
Rettinger, Michael: Studio Acoustics. Chemical Publishing Company, Inc., New York, 1981.
Personal Reference:
Dr. John C Allred, Ph.D., acoustical consultant to the Los Alamos National Laboratory, Los Alamos, New Mexico;
specialty is in architectural acoustics.
Building Service:
Egan, M. David: Concepts in Thermal Comfort. Prentice-Hall, Inc., Englewood Cliffs, NJ, 1975.
Givoni, B.: Man. Climate and Architecture, second edition. Applied Science Publishers, Ltd., London, 1976.
Heschong, Lisa: Thermal Delight in Architecture. The MIT Press, Cambridge, 1979.
McGuinness, Stein and Reynolds: Mechanical and Electrical Equipment for Buildings. Sixth Edition. John Wiley and Sons,
Inc., New York, 1980.
Architectural Graphic Standards. Seventh Edition, John Wiley and Sons, Inc., New York, 1981.
Callender, John H.: Time Saver Standards. Sixth Edition. McGraw-Hill, Inc., New York, 1982.
Relative Lighting Issues:
Hudson Home Guides, Practical Guide to Solar Homes. Van Nostrand Reinhold Company, Inc., New York, 1977.
Danz, Ernst: Sun Protection, Frederick A. Praeger, New York, 1967.

157

Moore, Fuller: Concepts and Practice of Architectural Davlighting. Van Nostrand Reinhold Company, Inc., New York,
Other Considerations:
Mazria, Edward: The Passive Solar Energy Book. Rodale Press, Emmaus, Pa., 1979.
Regional guidelines for building passive energy conserving homes. U.S. Dept. of Housing and Urban Development, July
1980.
Educational Philosophy:
"Special art high schools: some educational concerns", Warren E. George, Design for Arts in Education, vol. 87, Sept/Oct
'85, pp. 9-11.
"The Deeper Ritual of Our Bones", Ernest Boyer, Design. November/December '85, pp. 29-30.
"Arts Education: The National Consensus", John Brademas, Design. November/December '85, pp. 25-27.
Haack, Paul; Tait, Malcolm: Principles and Processes of Music Education: New Perspectives. Teachers College Press,
Columbia University, New York, 1984.
"A Special Kind of Place", Roger E. Jacobi, Design. March/April '84, pp. 33-37.
"Unexcused Absence: The Arts in Public Schools", Patricia E. Mitchell, Design for Arts in Education, vol. 87.
September/October '85, pp. 44-45.
"The Yehudi Menuhin School", Peter Norris, Intl. Journal of Music Education. Vol. 2, November '83, pp. 34-35.
"Arts, Education, and Excellence", Senator Claiborne Pell, Design. November/December '84, pp. 23-25.
"A Conservatoire Reaches Out into the Community", Peter Renshaw, Intl. Journal of Music Education. Vol. 6, November
'85, pp. 17-18.
"The New Curriculum", Susan Sgorbati, Design for Arts in Education. Vol. 87 September/October '85, pp. 46-47.
"Cultural Politics, the Schools, and the State Humanities Councils", Steven Weiland, Design for Arts In Education, vol. 95,
January/February '85, pp. 28-31.

158

"Excellence and the classroom", Russell P. Getz, Design, vol. 85, March/April '84, pp. 38-40.
The Educational Environment;
Moos, Rudolf H.: Evaluating Educational Environments. Jossey-Bass Publishers, San Francisco, 1979.
Moos, Rudolf H.: The Human Context. John Wiley & Sons, Inc., New York, 1976.
Architectural Design Theory:
Antonioades, Anthony: Architecture & Allied Design, second edition, Kendall/Hunt Publishing Company, Dubuque, Iowa,
1986.
Bachelard, Gaston: The Poetics of Space. Beacon Press, Boston, 1964.
Blackwell, William: Geometry in Architecture. John Wiley and Sons, Inc., New York, 1984.
Ching, Francis D.K.: Architecture Form. Space, and Order. Van Nostrand Reinhold Company, New York, 1979.
Doczi, Gyorgy: The Power of Limits. Shambhala. Boston. 1981.
Greene, Herb: Mind and Image. University Press of Kentucky, Lexington, Kentucky, 1976.
Hubbard,William: Complicity and Conviction. The MIT Press, Cambridge, 1980.
Johnson, Nell E.: Light is the Theme. Kimbell Art Foundation, Ft. Worth, Texas, 1978.
Lang, Jon: Creating Architectural Theory. Van Nostrand Reinhold Company, New York, 1987.
Lobell, John: Between Silence and Light. Shambhala, Boulder, Co., 1979.
Marder, Tod A.: The Critical Edge. The MIT Press and Jane Voorhees Zimmerli Art Museum, Cambridge, 1985.
Venturi, Robert: Complexity and Contradiction in Architecture. Museum of Modem Art in association wiUi die Graham
Foundation for Advanced Studies in the Fine Arts, New York, 1977.
Wurman, Richard Saul. What Will Be Has Always Been. Rizzoli Inti. Publications Inc., New York, 1986.

159

Music Theory:
I persoally have studied music history, and music theory for 18 years, so therefore I am considering myself a key resource in this
area. My personal knowledge will be supplemented bytiiefollowing sources:
Ballantine, Christopher: Music and Its Social Meanings. Gordon and Breach Science Publishers, Inc., New York, 1984.
Cross, Ian; Howell, Peter and West, Robert: Musical Structure and Cognition. Academic Pres Inc., Ltd., London, 1985.
Delone, Richard; Kliewer, Vernon; Resiberg, Horace; Wennerstrom, Mary; Winold, Allen and Wittlich, George: Aspects of
20th Century Music. Prentice-Hall, Inc., Englewood Cliffs, NJ, 1975.
Deutsch, Diana: The Psychology of Music. Academic Press, Inc., New York, 1982.
Kent, Earle L.: Musical Acoustics. Dowden, Hutchinson, and Ross, Inc., Stroudsburg, Pa., 1977.
Kupferberg, Herbert: Tanglewood. McGraw-Hill Book Company, New York, 1976.
Rahn, Jay: A Theory for All Music. University of Toronto Press, Toronto, 1983.
Areas of Concentration:
Performance Hall:
Forsyth, Michael: Building for Music. The MIT Press, Cambridge, 1985.
Brown, Catherine; Fleissig, William; Morrish, William; Buildingfor the Arts. Western States Art Foundation, Santa Fe,
1984.
Housing:
Architecture, Research, Construction, Inc.: Community Group Homes, Van Nostrand Reinhold Company, New York,
1985.
Campus:
Dober, Richard P.: Campus Planning. Reinhold Publishing Company, Cambridge, 1963.
Jewell, Don: Public Assembly Facilities. John Wiley and Sons, Inc., New York, 1978.

160

General:
Alexander, Christopher, A Pattern Language. Oxford University Press, New York, 1977.
Deasy, CM., in collaboration with Lasswell, Tschamer, Renata Von: Placemakers. Harcourt Brace Jovanovich, Inc.,
Orlando, Fla, 1987.
Hatch, C Richard: The Scope of Social Architecture. Van Nostrand Reinhold Company, Inc., New York, 1984.
Sorenson, Robert James; Design for Accessibility. McGraw-Hill Book Company, Inc., New York, 1979.
Other:

Cand oli, I. Carl; Hack, Walter G.; Ray, John R.; Stollar, Dewey H.: School Business Administration, third edition, Allyn
& Bacon, Inc., Boston, 1984.

Church Peggy Pond: Birds of Daybreak. William Gannon, Publishers, Sante Fe, 1985.
Architecture Magazine. Architectural Record Magazine. Progressive Architecture Magazine. Landscape Architecture
Magazine.
Personal interviews with musicians of the Los Alamos area:
violinists:

Michelle Madland
William Madland
Thomas Weber

cellists:

Karen Engel
Chris Madland
Eric Walters

string bass: Mike Ward

pianists:

Jan Engel
Cindy Little

brass:

Anne Marie Borch

Kristin Umbarger
Jan McDonald
Greg Henderson

conductors: Jan McDonald

Thomas Weber

documentation
and
conclusion

conclusion:
My primary goal in designing the form of
the conservatory was to create spaces for
the public and ultimately the students which
provided
an atmosphere conducive to
creativity and the desire to express oneself.
It seemed important to me that these forms
be expressive of the activities occurring
within each space.
Therefore it was
important that the character of the form be
expressed architecturally on
the exterior
facades, the interior plans, and that which
can only be felt - the sense of place.
Initially I was creating places that are
stereotypical of such get-away wilderness
areas - Smokey Bear architecture. It wasn't
until I paid attention to what I said in this
program that I would do (!), that I began
relating the forms of the buildings to the
forms
found
on
the
site...in
the
environmental context. A phenomena called
spalling occurs when water stored in the tuff
rocks on site is heated by the intense winter
sun.
As a result of the pressure built up
inside the rock, the tuff shears, losing
tremendous jagged pieces of its former face.
The form for the performance hall was the
first of all the buildings to respond to this.

As a result of the power of the form of the

performance hall taking shape, I explored
more carefully
the essence
of
the
environment.
In my first two weeks of
designing the conservatory, I repeatedly ran
into brick walls trying to create an
architecture which reinterpreted music.
It
wasn't until I built a small model of the
performance hall that I realized that my
emphasis should be placed on a form that
related to the natural area.
An important turing point was my first
pre-liminary presentation.
The week
preceding was hectic, as I wasn't sure yet
where the buildings were to be placed on
the site, let alone any building form. It was
at this point that I applied the importance
of the campus' form responding to the
environment as well. Resulting from this
pre-lim, I resolved to allow the form of the
practice studios to follow the tree line, which
is the reason for their final pattern.
This
pattern also responded to the need to create
individualized studios for the students.

TTTTTTTiM

JtU

The living spaces were slow in developing,

due primarily to the attention that the
practice studios, learning
areas,
and
performance area demanded.
Throughout
the design I used organic materials, and
because of the adjacency to a dense tree
grove, the housing needed to relate
structurally. The final form and appearance
of the living spaces did not evolve until the
last two weeks of the semester, on the final
model. I feel that including housing in the
design was the most difficult part, mainly
because of time restrictions.
With the exception of the sketches from my
first pre-lim, all turning points and final
design decisions resulted from study models.
At the end of February, I remember one
Sunday afternoon in particular when a
series of terraces and decks seemed to
unfold in several hours. That afternoon had
to be the most exciting for me, as everything
created was intuitively designed. The entire
project was an intuitive process, but the
intimacy and spirit of this project was felt
the most on this particular day.

I feel I was successful in capturing the spirit

of place for this conservatory at this site,
and for this reason am satisfied with my
design. I do wish I had had more time to
fully explore in more detail the relationships
of light in the studios, to create places of
water running alongside the terraces, to
include the concept of the "castle wall"
surrounding and becoming part of the
buildings, and to study in depth the
language each place "speaks" ... both
theoretically and practically. My thesis and
the manner in which I present it is poetical
and theoretical, but I also feel that behind
the "pink clouds" it is a valid one that is also
rational and solid.

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