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CBGB Music and Performing Arts Center
CBGB Music and Performing Arts Center
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CBGB Music and Performing Arts Center
Type
(Fall 3rd Year, 2007
This music center was designed with the once famous, now closed, punk rock club “CBGB” as the driving influence of the project. Like most music venues, the experience at “CBGB”s was not solely about the music, it was also about the crowd. With that in mind, this building was designed to react to the crowd. In this case, the crowd is the SOHO neighborhood of New York City.
The building is not so much designed, it is a reaction. To the south, tucked in and mostly hidden from exposure, the building takes on the shape of a conventional city building maximizing the foot print of the site. However, to the north, the building reacts willingly to the flow of pedestrian and vehicular traffic.
Four lanes of traffic flow west, while only two east. Combined with the setbacks of other buildings and the path of the street, that leaves a substantial portion of the building exposed to view from the East. This allows for the part of the building to absorb the energy moving west and transfer it through the building to the opposite façade. From the west very little of the building may be seen due to set backs and the street path. This is reflected in the design.
The program consists of all things expected for a multi-disciplinary building in the city. It has an auditorium, space for retail, offices and large classrooms that suit multiple performing arts. The most unique part of the program is the individual and small group practice rooms for musicians. Designed for small groups of players that may not seek traditional training or music education. After all, traditional ideals were the antithesis of what “CBGB”s was all about.
This music center was designed with the once famous, now closed, punk rock club “CBGB” as the driving influence of the project. Like most music venues, the experience at “CBGB”s was not solely about the music, it was also about the crowd. With that in mind, this building was designed to react to the crowd. In this case, the crowd is the SOHO neighborhood of New York City.
The building is not so much designed, it is a reaction. To the south, tucked in and mostly hidden from exposure, the building takes on the shape of a conventional city building maximizing the foot print of the site. However, to the north, the building reacts willingly to the flow of pedestrian and vehicular traffic.
Four lanes of traffic flow west, while only two east. Combined with the setbacks of other buildings and the path of the street, that leaves a substantial portion of the building exposed to view from the East. This allows for the part of the building to absorb the energy moving west and transfer it through the building to the opposite façade. From the west very little of the building may be seen due to set backs and the street path. This is reflected in the design.
The program consists of all things expected for a multi-disciplinary building in the city. It has an auditorium, space for retail, offices and large classrooms that suit multiple performing arts. The most unique part of the program is the individual and small group practice rooms for musicians. Designed for small groups of players that may not seek traditional training or music education. After all, traditional ideals were the antithesis of what “CBGB”s was all about.
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