HOUSE of JAZZ
KIAH FRIEDMAN
My project serves modern day Avant-Garde Jazz musicians who need a place to perform and experiment, and have their innovative sounds heard by a wider audience. Modern-day Jazz musicians make up a dynamic and diverse community within New York City, but fail to receive the recognition they deserve and work for. The problem with the New York Jazz scene is a lack of accessible resources, such as affordable instruments and classes, and lack of accessible space, such as practice and recording space, for both musicians and the audience of this niche genre. I believe Jazz musicians need a dedicated center that provides them with the resources they need to thrive as artists and reach a wider audience.
As a Jazz cultural center, my project provides the following variety of spaces and programs: A museum and classrooms—to allow users to learn about the rich history of Jazz and take music lessons, social spaces —for musicians and the audience to network, while inviting those who are new to the genre, and performance spaces—both informal and as a Jazz nightclub. To further address the issue of accessibility, my space includes recording studios, practice rooms, instrument lockers, and an equipment rental, all which can be rented out.
Characteristics such as improvisation, dissonance, movement, and vibrancy define Jazz as a genre, and my space transposes these techniques into spatial strategies. Someone coming into my space would be able to spend the day there - practicing their instrument or learning a new one, browsing the collection of rare artifacts and and listening to legendary records, networking with fellow musicians and fans at the cafe, and having a great night dancing in the Jazz club.
Being located in the Brooklyn Cultural District, adjacent to many music schools and performance centers, the Jazz Hub will prove to be a positive and useful addition to the Fort Greene Community.
PRECEDENT STUDIES
DISSONANCE
"dissonance, in music, the impression of stability and repose (consonance) in relation to the impression of tension or clash (dissonance) experienced by a listener when certain combinations of tones or notes are sounded together"
IMPROVISATION
To create something on the spot without any prior practice or preparation. In Jazz, the music becomes much like a conversation, where each sound builds from the previous one.
Throughout my design process, I used the terms dissonance and improvisation to guide my decisions. In the floor plans, these terms were spatialized through angular forms at different scales. I considered how these angles would overlap with one another, and how the space would constantly evolve depending on where one stands and their vantage point.
My material choices were guided by these terms as well, and I chose materials that emphasize the vibrancy of the genre.
DISSONANCE VISION BOARD
1st lvl floor plan
The first level of the space includes a reception area, a museum space, classrooms, a record archive, an equipment rental, a small cafe, and a double-height performance space
2nd lvl floor plan
The second level of the space includes more private + intimate spaces - listening rooms, practice rooms, recording studios, as well as a lounge, and a large Jazz club
1st lvl RCP
2nd lvl RCP
Rendered Perspective Views
Project Book
In tandem with my studio project, this project book contains writing that provides a deeper analysis of my process, my concept, and my personal design philosophy. Learning how to write about my project proved to be essential to my design process, as it highlighted areas I needed to think more thoroughly, and when I needed additional research on my subculture.
Kiah Friedman Final Project Book.pdfKIAH FRIEDMAN
I let each design I work on be a process of discovery. Rather than rushing into making decisions, I allow room for each possible solution to be informed by a previous one, which will then inform the next. Building each new idea off of a previous one allows me to thoroughly think through each step of the design process, and ensures that as a whole the project is cohesive. I think it is important to leave room for improvising, to allow designs to constantly evolve and transform, rather than get stuck on the first solution.
It is very important to me that my designs do not encroach on their environment, but they enhance it. This is done through careful consideration to the site’s history, different cultures, demographics, and existing design styles. While design should experiment and push boundaries, it should also take cues from its environment - surrounding context and the predominant design styles that exist are essential to informing a new design.
I do not want my designs to be limited to serving any one community, though I think it is very important to bring the positive effects of interior design to those who cannot necessarily afford what is typically reserved for those with more financial means. I am driven by this desire to provide opportunities to improve the living environments for a wider audience, overall making interior design something that is more accessible. Designing for a diverse range of clients and communities comes from a deep understanding of design history, materials, building methods, and decorative choices. Through this understanding, designs become highly curated to the individual - exuding their unique lifestyle and personality.
