UFC 4-171-04AN
01 March 2005
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UNIFIED FACILITIES CRITERIA (UFC)
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BAND TRAINING FACILITIES
APPROVED FOR PUBLIC RELEASE; DISTRIBUTION UNLIMITED
UFC 4-171-04AN
01 March 2005
UNIFIED FACILITIES CRITERIA (UFC)
BAND TRAINING FACILITIES
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Any copyrighted material included in this UFC is identified at its point of use.
Use of the copyrighted material apart from this UFC must have the permission of the
copyright holder.
U.S. ARMY CORPS OF ENGINEERS (Preparing Activity)
NAVAL FACILITIES ENGINEERING COMMAND
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AIR FORCE CIVIL ENGINEER SUPPORT AGENCY
Record of Changes (changes are indicated by \1\ ... /1/)
Date
Location
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Change No.
This UFC supersedes DG 1110-3-119, dated March 1983. The format of this UFC does not conform
to UFC 1-300-01; however, the format will be adjusted to conform at the next revision. The body of
this UFC is the previous DG 1110-3-119, dated March 1983.
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UFC 4-171-04AN
01 March 2005
FOREWORD
\1\
The Unified Facilities Criteria (UFC) system is prescribed by MIL-STD 3007 and provides
planning, design, construction, sustainment, restoration, and modernization criteria, and applies
to the Military Departments, the Defense Agencies, and the DoD Field Activities in accordance
with USD(AT&L) Memorandum dated 29 May 2002. UFC will be used for all DoD projects and
work for other customers where appropriate. All construction outside of the United States is
also governed by Status of forces Agreements (SOFA), Host Nation Funded Construction
Agreements (HNFA), and in some instances, Bilateral Infrastructure Agreements (BIA.)
Therefore, the acquisition team must ensure compliance with the more stringent of the UFC, the
SOFA, the HNFA, and the BIA, as applicable.
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UFC are living documents and will be periodically reviewed, updated, and made available to
users as part of the Services’ responsibility for providing technical criteria for military
construction. Headquarters, U.S. Army Corps of Engineers (HQUSACE), Naval Facilities
Engineering Command (NAVFAC), and Air Force Civil Engineer Support Agency (AFCESA) are
responsible for administration of the UFC system. Defense agencies should contact the
preparing service for document interpretation and improvements. Technical content of UFC is
the responsibility of the cognizant DoD working group. Recommended changes with supporting
rationale should be sent to the respective service proponent office by the following electronic
form: Criteria Change Request (CCR). The form is also accessible from the Internet sites listed
below.
UFC are effective upon issuance and are distributed only in electronic media from the following
source:
x
Whole Building Design Guide web site http://dod.wbdg.org/.
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AUTHORIZED BY:
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Hard copies of UFC printed from electronic media should be checked against the current
electronic version prior to use to ensure that they are current.
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______________________________________
DONALD L. BASHAM, P.E.
Chief, Engineering and Construction
U.S. Army Corps of Engineers
______________________________________
KATHLEEN I. FERGUSON, P.E.
The Deputy Civil Engineer
DCS/Installations & Logistics
Department of the Air Force
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______________________________________
DR. JAMES W WRIGHT, P.E.
Chief Engineer
Naval Facilities Engineering Command
______________________________________
Dr. GET W. MOY, P.E.
Director, Installations Requirements and
Management
Office of the Deputy Under Secretary of Defense
(Installations and Environment)
Design Guide: Band Training Facilities
DG-1110-3-119
TABLE OF CONTENTS
March 1983
Table of Contents
1-1
1-1
1-2
1-2
1-2
1-3
1-4
1-5
1-5
Chapter 2: Architectural Programming
2-1
Using This Chapter
2-2
Programming Process
2-3
Functions Program
A. Overall Functions
B. Specific Functions
2-4
Space Program
2-5
Site and Building Selection
A. Site Evaluation Criteria
B. Building Suitability Criteria
2-1
2-1
2-3
2-3
2-3
2-6
2-6
2-7
2-10
Chapter 3: General Design Considerations
3-1
Using This Chapter
3-2
Site Design
3-3
Overall Building Design
3-4
Space Relationships
Acoustical Considerations
3-5
A. Sound Isolation
B. Noise Control
C. Room Acoustics
3-6
Environmental Systems Design
3-1
3-1
3-3
3-5
3-10
3-10
3-13
3-13
3-15
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Chapter 1: Introduction
1-1
Using This Chapter
1-2
Purpose
1-3
Scope
1-4
Organization
1-5
Responsibilities
A. Project Planning and Programming
B. Design
1-6
References
1-7
Glossary
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page
Chapter 4: Space Criteria
4-1
Using This Chapter
Main Rehearsal Room
4-2
Group Practice Rooms
4-3
Individual Practice Rooms
4-4
4-5
Recording/Audio Control Booth
4-6
Library
4-7
Offices
Individual Instrument Lockers/
4-8
Instrument Cleaning
Day Area
4-9
4-10 Toilets/Lockers/Showers
4-11 Unit Supply/Storage/Instrument Repair
4-12 Lobby and Circulation
4-13 Maintenance and Mechanical Spaces
4-14 Arms Room
4-15 Mail Room
4-16 Outdoor Spaces
4-1
4-2
4-4
4-5
4-8
4-9
4-9
4-10
4-14
4-14
4-16
4-17
4-19
4-19
4-19
4-20
DG-1110-3-119
Design Guide: Band Training Facilities
TABLE OF CONTENTS
March 1983
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Chapter 5: Practical Approaches For Acoustic
Construction
5-1
Using This Chapter
5-2
Sound Isolation
A. Individual Practice Rooms
B. Small Group Practice Rooms
C. Main Rehearsal Room,
Large Group Practice Room and
Control/Recording Booth
D. Doors
E. Windows
F. Lighting and Electrical Systems
5-3
Noise Control and Mechanical
Systems
5-4
Room Acoustics
A. Absorptive Finishes
B. Room Shape
C. Main Rehearsal Room
D. Group Practice Rooms
E. Individual Practice Rooms
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Chapter 6: Illustrative Designs
6-1
Using This Chapter
6-2
New 45 Person Band Facility
6-3
New 65 Person Band Facility
6-4
Renovation of 6,150 SF Battalion
Headquarters, with Additions
6-5
Renovation of 12,700 SF Enlisted
Men’s Service Club
5-1
5-1
5-2
5-9
5-12
5-14
5-19
5-20
5-20
5-22
5-22
5-24
5-24
5-25
5-25
6-1
6-2
6-6
6-10
6-14
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
LIST OF FIGURES
List of Figures
page
Chapter 1: Introduction
1-1
Band Training Facilities Project
Development Process
1-2
Recently Constructed Army Band
Facility
1-3
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Chapter 2: Architectural Programming
2-1
Space Programming Process
Band Rehearsal (The U.S. Army
2-2
Band and Chorus; Brucker Hall,
Ft. Myer, Va.)
2-3
Small Group Practice
Audio Control and Recording
2-4
2-5
Music Library (Brucker Hall)
2-6
Band Administration
2-7
Individual Instrument Storage
Large Instrument Storage
2-8
2-9
Outdoor Performance
2-10 Spaces and Relationships for Army
Band Training Facilities
2-11 Site Evaluation Criteria
2-12 Band Training Facility within
Renovated Existing Building
2-13 Band Training Facility in Renovated
Existing Building plus Additions
Chapter 3: General Design Considerations
Site Zoning
3-1
Outdoor Performance Area
3-2
Access Separation
3-3
Band Image
3-4
Ample and Clear Circulation
3-5
Example Renovation Design
3-6
3-7
Single Story Facility
Public and Private Zones
3-8
Use Sequences and Building
3-9
Relationships
3-10 Supervision Relationships
3-11 Space-to-Space Relationships
3-12 Independent Construction for Sound
Isolation
3-13 Manufactured Sound Module
3-14 Ductwork Design to Reduce Sound
Transmission
3-15 Treatment of Echoes
3-16 Elimination of Flutter with a Splayed
Wall
Chapter 4: Space Criteria
4-1
Illustrative Main Rehearsal Rooms
4-2
Illustrative Large Group Practice
Rooms
4-3
Illustrative Small Group Practice
Rooms
4-4
Illustrative Individual Practice Rooms
4-5
Illustrative Recording/Audio Control
Booth
Illustrative Library Plan
4-6
1-4
2-2
2-4
2-5
2-5
2-5
2-5
2-6
2-6
2-7
2-9
2-10
2-11
2-11
3-2
3-2
3-3
3-4
3-5
3-6
3-7
3-8
3-9
3-10
3-11
3-12
3-13
3-13
3-14
3-15
4-2
4-5
4-6
4-6
4-8
4-9
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
LIST OF FIGURES
4-7
4-8
Illustrative Office Plans
Illustrative Individual Instrument
Locker System
4-9
Illustrative Modular Individual
Instrument Locker System
4-10 Illustrative Day Area Plan
4-11 Illustrative Toilet/Lockers/Shower Plan
4-12 Illustrative Unit Supply/Storage/
Instrument Repair Plan
4-13 Illustrative Circulation System Plans
4-14 Illustrative Loading Dock/Performance
Area
4-15 Illustrative Entry Court
4-16 Illustrative Patio
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Chapter 5: Practical Approaches For Acoustic
Construction
5-1
Section Through Typical Individual
Practice Rooms
5-2
Minimum Wall Construction Required
Between Individual Practice Rooms
5-3
Gypsum Wallboard Construction
Between Two Individual Practice
Rooms (not recommended)
5-4
Party Wall and Corridor Wall Meeting
5-5
Masonry Wall and Concrete Plank
Roof
5-6
Joints Between Masonry Walls and
Metal Roof Decks
5-7
Isolating Music Rooms Under A Metal
Roof Deck Without Concrete Topping
Resiliently Attached Gypsum Wallboard
5-8
Skins to Improve Performance of Single
Masonry Walls
5-9
Resiliently Furred Construction
5-10 Tieless Double Masonry Wall
5-11 Section Through a Typical Large
Group Practice, Recording and Main
Rehearsal Room Complex
5-12 Sound Lock-Overhead Plan View
5-13 Plan of Music Room Double Doors
5-14 Double Doors Meeting at Astragal
5-15 Acoustical Door Frames and Seals
5-16 Acoustical Door Bottom Seals
5-17 Window Frame Details-Alternative
Methods of Constructing Double
Glazed Windows for Sound Isolation
5-18 Light Fixture Hanger Rod Passing
Through a Resilient Ceiling
5-19 Duct Penetrations in Sound-Isolating
Construction
5-20 Diagonal Corner Construction for LowFrequency Absorption
5-21 Room Acoustics in Main Rehearsal
Room
5-22 Absorption and Room Shape to Treat
Acoustical Problems
4-10
4-12
4-13
4-14
4-15
4-17
4-18
4-20
4-21
4-21
5-3
5-4
5-4
5-5
5-5
5-6
5-7
5-9
5-10
5-12
5-13
5-14
5-15
5-16
5-17
5-18
5-19
5-20
5-21
5-22
5-24
5-25
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
TABLES
List of Tables
page
Chapter 2: Architectural Programming
2-1
Recommended Space Allocations for
Army Band Training Facilities
2-8
Chapter 3: General Design Considerations
Recommended Sound Isolation
3-1
Criteria for Band Training Facilities
3-12
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Chapter 4: Space Criteria
4-1
Typical Modular Instrument Storage
System for 45 Person Band
4-2
Recommended Toilet/Shower Fixture
Counts
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Chapter 5: Practical Approaches For Acoustic
Construction
Typical Performance Ranges of Sound
5-1
Isolating Constructions
5-2
Suggested Minimum Wall Separation
Constructions
Recommended Ceiling Treatment
5-3
5-4
Approximate Acoustical Absorptivity of
Room Finishes and Treatments
Chapter 6: Illustrative Designs
6-1
Space Allocations: New 45 Person
Band Training Facility
6-2
Space Allocations: New 65 Person
Band Training Facility
6-3
Space Allocations: Renovation of
6150 SF Battalion Headquarters for
45 Person Band Training Facility
6-4
Space Allocations: Renovation of
12,700 SF EM Service Club for
45 Person Band Training Facility
4-13
4-16
5-2
5-8
5-11
5-23
6-2
6-6
6-12
6-15
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
LIST OF FIGURES
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Chapter 6: Illustrative Designs
New 45 Person Band Facility6-1
Perspective Sketch
New 45 Person Band Facility6-2
Building Plan
New 45 Person Band Facility6-3
Site Plan
New 65 Person Band Facility6-4
Perspective Sketch
New 65 Person Band Facility6-5
Building Plan
New 65 Person Band Facility6-6
Site Plan
Existing 6,150 SF Battalion
6-7
Headquarters-Plan
Renovation of 6,150 SF Battalion
6-8
Headquarters-Perspective Sketch
Renovation of 6,150 SF Battalion
6-9
Headquarters-Proposed Plan
6-10 Renovation of 6,150 SF Battalion
Headquarters-Site Plan
6-11 Existing 12,700 SF Enlisted Men’s
Service Club-Plan
6-12 Renovation of 12,700 SF EM Service
Club-Proposed Plan
6-13 Renovation of 12,700 SF EM Service
Club-Site Plan
6-3
6-3
6-4
6-7
6-7
6-8
6-10
6-11
6-11
6-11
6-14
6-15
6-16
DG-1110-3-119
Design Guide: Band Training Facilities
FORWARD
March 1983
Foreword
The Design Guide (DG) series is issued by the Engineering Division, Engineering and Construction Directorate,
Office of the Chief of Engineers, U.S. Department of the
Army.
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This Design Guide has been prepared to assist in the
planning, programming, and design of the Army Band
Training Facilities. The goal of these facilities is to provide
spaces appropriate to the specific needs of Army Bands
for practice, rehearsal and other functions in support of their
military mission. The guide not only states basic design
criteria, but also provides means by which the user can apply
the criteria in individual ways to respond to local
requirements.
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Guidance contained in this document is applicable to all
new construction and to projects involving additions,
modernization, renovations, or improvements to existing
facilities. It is intended for use by Facility Engineers, District Engineers, Army Band Officers and personnel, and
architects and engineers designing Army Band Training
Facilities.
Development of this guide was under the direction of the
Building Technology Section, Architectural and Building
Systems Branch, of the Engineering Division. Preparation
of the Design Guide was the result of Contract No.
DACA87-81-C-0127 for planning and design services by
Arrowstreet Inc., of Cambridge, Massachusetts, and their
acoustics consultants, Bolt Beranek and Newman, of
Cambridge, Massachusetts. The functional requirements
have been developed in conjunction with, and approved
by, the Army Bands Office, of the U.S. Adjutant General
Center, Washington, D.C.
This Guide is for sale by the Superintendent of Documents,
U.S. Government Printing Office. Additional copies are
available from the USACE Publications Depot, 890 South
Pickett Street, Alexandria, Virginia, 22304. Users are
invited to send comments and suggested improvements to
CDR USACE (DAEN-ECE-A), Wash, D.C. 20314.
FOR THE COMMANDER
WILLIAM N. McCORMICK, JR.
Chief, Engineering Division
Directorate of Engineering and Construction
Design Guide: Band Training Facilities
DG-1110-3-119
Introduction
March 1983
Chapter 1:
Introduction
Contents
page
1-1
1-2
1-3
1-4
1-5
1-1
1-1
1-2
1-2
1-2
1-3
1-4
1-5
1-5
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1-6
1-7
Using This Chapter
Purpose
Scope
Organization
Responsibilities
A. Project Planning and Programming
B. Design
References
Glossary
1-1 Using This Chapter
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This chapter describes the purpose, scope and organization of this Design Guide for Army Band Training Facilities.
It discusses the roles and responsibilities of participants
in the project process, and provides a reference list of related
military regulations and technical manuals useful in the
development of these facilities.
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1-2 Purpose
The purpose of this Design Guide is to provide guidance
and basic criteria for the planning and design of Army
Band Training Facilities (Category Code 171-15). This
involves several stages and types of activities:
A. Evaluation and Improvements. This Design guide
provides criteria against which existing band facilities, buildings proposed for renovation for band use, and new
designs can be evaluated. Criteria are provided for assessment in terms of architectural program, spatial and structural suitability, building organization and relationships, and
the design of individual activity spaces. Improvements
to existing facilities, through renovation and better space
utilization and operation, can be applied by local band
and engineer personnel, based on such assessment and
on the design guidance in this document.
B. Planning and Programming. This Guide provides
general guidance for Army Bank officers and personnel,
and Facility Engineer personnel, for project planning and
programming for band facilities, and initiating projects for
military construction programs. The Design Guide provides
specific guidance for the selection of appropriate sites or
existing buildings to renovate, and for development of
the architectural program, including the preparation and submission of required documents.
C. Design. As the basic instrument governing the design
of Army Band Training Facilities, this Guide provides the
design principles and criteria for conceptual design and
design development of all sizes of band facilities. The guidelines focus on the development of realistic, cost-effective
1-1
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Introduction
These guidelines are intended to be used throughout the
design process, by all the participants in this process: Band
officers and personnel, Facility Engineers, District
Engineers, and design architects and engineers. They are
to be coordinated with other Army regulations and Department of Defense (DOD) criteria and procedures.
1-3 Scope
1-4 Organization
This Guide is organized to aid the reader through the
successive steps in the planning, programming, and design
process. The organization is intended to allow each different user of the Guide to find and use the information pertinent to their role in the overall project. The chapters into
which this Design Guide is divided are as follows:
1. Introduction. Overall purposes, scope and organization
of the Design Guide; roles and responsibilities of participants in the project development process; and references
useful in the planning and design of band training facilities.
2. Architectural Programming. Functional and space
programming for Army Band Training Facilities, including
criteria for selection of sites or of existing buildings to
renovate.
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A. Types of Band Facilities. This Design guide is directly
applicable to training facilities for the regular Active Duty
Army bands. The criteria and illustrative designs specifically address the two standard sizes required for such bands
— 45 person and 65 person. While the personnel composition and functions of these bands are relatively standardized, there are minor local variations in operation from
post to post, which can be reflected in the facility design.
such renovations and small-scale modifications, especially
for construction items unique to band training activities
and their acoustic implications. Further guidance on interior design is provided in DG 1110-3-122.
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buildings which best accommodate Army Band activities.
They specifically address the issues of acoustical design,
renovation, and practical construction approaches, which
are particularly important in the development of band
facilities.
3. General Design Considerations. The overriding issues
of site design, building organization and space design
which should control design of the Band Training Facilities,
with specific criteria for their implementation. Discussion
of special considerations concerning acoustics issues and
environmental systems design for band facilities are
included.
4. Space Criteria. Functional, architectural, dimensional,
relational and technical criteria for each individual space
of the Band Training Facilities.
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This Design Guide is also generally applicable to facilities for the larger Premier Bands. However, the specifics
of band composition, performance groups and activities
are different from other bands, and will require modification and augmentation of the affected function-areas of
the band facility. Each of these facilities must be programmed
and designed individually, utilizing the general guidance
on programming process, functions and space requirements,
overall and individual space design criteria, and acoustical design considerations found in this Guide. Similarly, the
contents of this Design Guide are generally relevant to
National Guard and Army Reserve Bands, and should be
applied as appropriate to their operations and scale of
facility construction.
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B. New Construction, Renovations, Additions, and Adaptive Reuse. This Design Guide is applicable to all projects
involving new construction, renovations, additions, or adaptive reuse for Band Training Facilities. While this document provides the basic criteria for such facilities, it is
not intended to provide all the information required for the
identification of project requirements or the successful
preparation of project designs. Additional information must
be obtained at the installation level in order to identify
the unique requirements of local bands and their activities,
and the design constraints and opportunities of the physical context and sites. This guide does include illustrative
examples to assist the responsible local personnel in development of their project requirements and designs.
C. Staff-Initiated Interior Design Changes. A major use
of this Guide is to aid Army Band personnel and Facility
Engineers in evaluating existing facilities and making interior design changes not necessarily involving capital
improvement funds. The Design Guide is intended to help
these personnel to know what design principles and
approaches to follow in making these changes. It provides
specific, practical guidance, with how-to-do-it details, for
1-2
5. Practical Appreaches for Acoustic Construction. Practical,
how-to-do-it guidance and typicaI details for construction
appropriate to acoustic requirements of Band Training
Facilities, including sound isolation, noise control, and room
acoustics issues. For additional guidance see DG
1110-3-123.
6. Illustrative Designs. Designs for new facilities for 45 per
son and 65 person bands, and for renovation of two typical existing facilities for band use. These are not intended
as definitive designs, but rather to exemplify the planning,
programming and design guidelines presented in this Design
Guide.
1-5 Responsibilities
The roles and responsibilities of the various parties
involved in the Project Development process for Army Band
Training facilities are diagrammatically outlined in Figure
1-1. This represents the procedures for development of facilities funded under the Military Construction Army (MCA)
program.
DG-1110-3-119
Design Guide: Band Training Facilities
Introduction
March 1983
Bend
Personnel
Facility
Engineer
Installation
Commander
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District
Engineer
(or A/E)
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Notes:
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Major
Command
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Figure 1-1. Band Training Facilities Project Development Process
A. Project Planning and Programming
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Prior to the steps shown in Figure 1-1, the Installation
Planning Board (IPB) must approve an Installation Masterplan, including the site location for proposed Band Training Facilities, and a priority list for new construction and
renovation projects. Because of the unique nature of a
musical ensemble like the band, and the inherent unique
requirements, it is imperative that the Bandmaster ensure
that those requirements are represented at every process
level, from this very first stage, to effect appropriate priority placement of the Band Training Facilities within the lPBapproved Master Plan.
detailed Project Development Brochure (PDB) prepared,
as specified-in AR 415-20 and TM 5-800-3. The functional
description of the PDB - the activities and operations of
the programs to be included in the facility-is written by
the Army Band Officer, with assistance from band
personnel, within the guidelines of this Guide. The physical requirements—siting, site development, general architectural and technical aspects—are developed by the Facility
Engineer, in interaction with the band personnel. The Facility Engineer also has the option of asking assistance from
the District Engineer in preparing the PDB.
The “site review” indicated in Figure 1-1 represents a review
and possible revisions of previous siting decisions, based
on the refined understanding of the specific project functional requirements. In addition, a Project Summary (PS)
is prepared (see TM 5-800-3), to accompany the initial (one
page) DD Form 1391, to provide preliminary information
about the project to the MACOM.
The content of the PDB constitutes or summarizes an
Architectural Program for the facility. Procedures and criteria for development of this are found in Chapter 2 of this
Design Guide. The Architectural Program is the document
which communicates to the design architects and engineers the requirements the building must satisfy: the functional program, the space requirements, and critical design
criteria and site constraints.
1. Project Development Brochure. Upon notification that
a Band Training Facility has a high probability of being
included in the MACOM’s Short Range Construction Program (SRCP), the Facility Engineer arranges to have a
2. Site Review. The site selected for the Band Training
Facility in the Installation Master Plan should be reviewed
by the Band Officer together with the Facility Engineer.
This review should reflect the considerations presented in
1-3
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
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Introduction
Figure 1-2. Recently Constructed Army Band Facility
(Brucker Hall, the U.S. Army Band and Chorus, Ft. Myer, VA)
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Section 2-5 of this Guide. Any modifications desired must
be proposed to the Installation Planning Board, for approval
in accordance with AR 210-20, Masterplanning for Permanent Army Installations.
3. DD Form 1391. DD Form 1391, Military construction
Project Data, with detailed justifications, is the essential
documentation required for decisions on the project by the
Major Command. Instructions for its completion are found
in the AR 415-15 and in TM 5-800-3. Army Headquarters
uses the DD Form 1391, with MACOM input, to further
refine DA construction priorities. The DD Form 1391 is primarily the responsibility of the Facility Engineer, with input
from band personnel, already largely developed in the PDB
process. It is a detailed justification of the need for the
project, including descriptions of the general physical characteristics of the facility, quantitative data, and cost
estimates. The final submittal of DD Form 1391 will have
the PDB attached.
1-4
B. Design
For the remainder of the Project Development Process,
primary responsibility shifts to the District Engineer’s office,
or the activity charged with construction responsibility.
The District Engineer develops the design criteria, and either
handles concept design, final design and construction
administration in-house, or contracts the design to an outside architect/engineer. Although these tasks take place
away from the installation, they are based on the functional and operational requirements in the PDB and DD
Form 1391. There is opportunity for review and approval
of the Concept Design by the Facility Engineer and band
personnel, and this is critical to insure satisfaction of the
users’ projected needs. (see Figure 1-2)
1. Design Services. Architects and engineers selected for
design of Army Band Training Facilities shoud be experienced in the design of band or music training and perfor-
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DG-1110-3-119
Design Guide: Band Training Facilities
Introduction
March 1983
mance facilities. They should be able to respond with
imagination to the principles and considerations in this
Design Guide, and to the individual post’s use program project criteria and site. The architects must integrate design
quality, functional efficiency and cost control, with efficient
projects procedures. They must be able to coordinate
the technical engineering and other specialist services
required, in particular the specialized acoustic engineering capabilities essential to good band facility design.
AR 415-35, Minor Construction.
TM 5-800-3, Project Development Brochures.
TM 5-803-1, Installations Master Planning: Principles and
Procedures.
C. Design
2. Concept Design. The designer prepares Concept Designs
(detailed schematic designs) to define all functional
aspects of the facility, and to provide a firm basis for evaluating the total building and site design. Designs are based
on the PDB, on functional requirements submitted by the
band personnel, on data in DD Form 1391, on preliminary designs and cost estimates previously completed and
approved, and on detailed consideration of the criteria
in this Design Guide. Concept Designs are reviewed by the
Band Officer and his personnel. Based on their recommendation, the Facility Engineer determines if the design is in
compliance with the program and the criteria in this Design
Guide, and communicates this to the District Engineer.
DG 1110-3-123, Architectural Acoustics.
EM 1110-1-103, Design for the Physically Handicapped.
ER 1110-345-100, Design Policy.
ER 1110-345-700, Design Analysis.
ER 1110-345-710, Drawings.
ER 1110-345-720, Specifications
TM 5-785, Engineering Weather Data.
TM 5-800-1, Construction Criteria for Army Facilities.
TM 5-800-2, Preparation of Cost Estimates—Military
Construction.
TM 5-803-5, Installation Design.
TM 5-805-4, Noise Control for Mechanical Equipment.
TM 5-805-10, Acoustical Treatment.
TM 5-807-10, Signage.
TM 5-809-1 through 5 and 8 through 11, Structural
Design.
TM 5-810-1 through 6, Mechanical Design.
TM 5-811-1 through 4, Electrical Design.
TM 5-812-1, Fire Protection.
TM 5-813-1 through 5, Water Distribution Systems.
TM 5-814-1, Water Supply for Fire Protection.
TM 5-814-1, Sanitary Engineering
TM 5-822-2 Design for Roads, Streets, Walks and Open
Storage Areas.
TM 5-830-2 and 4, Planting Design.
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1-6 References
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3. Final Design. Final Design is prepared based on the
previously approved Concept Designs. This stage does
not require approval by the installation personnel, but they
should have the opportunity to review the in-process
design before completion of Final Design. Upon completion and receipt of appropriate directives from the Chief
of Engineers, the District Engineering Office furnishes to
the Using Service and the installation commander a copy
of all bidding documents along with a notice that the District Engineer intends to advertise the project for bids.
Thereafter the project proceeds into construction, under the
responsibility of the District Engineering Office.
AR 190-11, Physical Security of Arms, Ammunition and
Explosives.
DG 1110-3-122, Design Guide for Interiors.
The following references are important in understanding
the functions of Army Band Training Facilities, the procedures for their planning, design and development as part
of military construction programs, and the records to be transferred to the using service upon completion of the project.
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A. Functional Requirements.
AR 220-90, Army Bands.
FM 12-50, The Military Bands.
TRADOC PAM 525-13, U.S. Army Operational Concept
and Use of Army Bands in Combat Areas.
B. Planning and Project Development.
DOD 4270.1-M, Department of Defense Construction
Criteria.
AR 210-20, Master Planning for Permanent Army Installations.
AR 415-15, Military Construction (Army) Program
Development.
AR 415-17, Cost Estimating for Military Programming.
AR 415-20, Project Development and Design Approval.
D. Completion Records
AR 415-10, General Provisions for Military Construction.
1-7 Glossary
Presented below are definitions of technical terms used
throughout this guide, with which all readers may not be
familiar. These are practical definitions, designed to apply
only to the usage of these terms in this document.
Absorption: absorption of sound, as by a material which
soaks up sound energy so that less sound is reflected back
into the room.
Acoustics: The science of sound including its production,
transmission and effects, and the qualities that determine
the value of a room or enclosed space with respect to
hearing.
Architectural Program (or Space Program): a list of all
spaces required in a building, usually including information about the areas (square footages) and activities to be
accommodated, and the design characteristics desired
in each room.
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DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Introduction
Auditory Health Hazard: sound of such loudness or fre
quency as to cause injury to the ears and impair hearing,
permanently or temporarily.
Batt Insulation, acoustical: fiberglass or other fibers, bonded
loosely - specifically designed to absorb sound (as opposed
to thermal insulation).
CFM: cubic feet per minute; a measure of the movement
of a liquid or a gas (usually used to describe conditioned
air), in quantities of one cubic foot of volume passing a
given point in one minute.
Cast-in Place Concrete: concrete poured into forms in
its final location; forms are subsequently removed; see
Precast Concrete.
Clerestory Windows: windows inserted in the section of
wall between an upper and lower roof.
Isolation: keeping noise either in or out of a room by means
of constructions that reduce the amount of sound passing
through; see also “Attenuation”.
Loudness: intensity of sound, which may be graded from
soft to loud; loudness depends primarily on the sound power
of the stimulus (source), but also on the frequency and
wave form of the stimulus, as modified by the room surfaces:
sound can be absorbed that would otherwise be reflected
back into the room to add to the loudness; measured in
decibels.
Live Room: a room with an unusually small amount of
sound absorption, and thus much reverberation; a “dead”
room has a large amount of absorption, so sounds quickly
die out.
Life Cycle Costing: estimating building costs for the entire
expected useful life of the building, including operating
and repair costs, in addition to the usual considerations for
initial construction cost.
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Decibel: a unit for measuring the relative loudness of sound,
equal approximately to the smallest degree of difference
of loudness ordinarily detectable by the human ear
(logarithmically related to the actual sound energy).
Installation Master Plan: an integrated series of documents
which presents in graphic, narrative, and tabular form
the present composition of the installation and the plan for
its orderly and comprehensive development to perform
its various missions in the most efficient and economical
manner over a 20-year period.
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Attenuation: reduction; in this case, of sound level,
especially by walls and other barriers between two rooms.
Diffusion: distribution of sound throughout the room under
consideration; uniform distribution rather than focusing
of sound in one place is the goal, and this is accomplished
through varying the positions and types of surfaces, and
the distribution of absorption within the room.
Earth Berm: a mound of earth, usually man-made.
Noise Criteria (NC): a grading scale of levels of noise in
decibels, based on tests of speech interference and annoyance considerations; a room is assigned an NC rating,
stating acceptable background noise, based on how critical interference and annoyance by outside sounds will
be; for example, a room that requires almost total silence
should allow only a very small amount of interfering noise,
and thus would have a low Noise Criterion.
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Environmental Systems: equipment and assemblies to
condition air in a building for human comfort or other technical requirements; usually includes heating, cooling,
ventilating, dehumidifying, and filtering impurities.
MCA Program: Military Construction, Army; including the
planning, programming, designing, budgeting, construction,
and disposal of major and minor construction of Army
facilities, acquisition of real estate, and other supporting
activities.
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Flanking Path: a way for sound to circumvent a barrier; for
example, a metal tube that goes around the end of a soundisolating wall between two rooms, thus serving as a conduit for sound to bypass the barrier.
Flutter echo: a ringing noise caused by a pattern of repeti
tive sound reflections along the same path, such as
between two parallel hard surfaces.
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Frequency: the number of oscillations of sound waves
per unit of time; the higher the frequency, the higher the
pitch of the sound; a sound isolating or sound absorbing
material has different effectiveness at different frequencies.
Gasket: a flexible strip of material which is compressed
to make a tight seal; for example, a material pressed by a
door against the door frame.
Gypsum Wallboard (GWB) gypsum plaster manufactured
into stiff, paper-covered boards, which are attached to the
building structure to make walls; joints between the boards
are sealed and smoothed to form a continuous surface; also
called sheetrock.
Glazing: glass, as installed in a window.
Hertz (Hz): the number of cycles of oscillation of sound
waves per second; a measure of frequency.
1-6
Noise: unwanted sound.
Noise Control: the manipulation of mechanical system noises
that result from the conditioning of the space, so they
are not objectionable, or so they provide an even background sound level.
Noise Reduction Coefficient (NRC): a rating scale for the
effectiveness of sound absorbers, measured at the four middle frequencies; high numbers indicate high absorptivity.
The coefficient may be misleading as it does not consider
the low frequencies generated by many band instruments.
Plenum: a space above or below a room, into which pressurized conditioned air is directed, to then pass to the
rooms above or below through registers.
Precast Concrete Plank: factory-made concrete planks,
delivered to a building site and set by crane on a framework to form a floor or roof; to reduce-weight, hollow spaces
usually run the length of the plank.
Project Development Brochure (PDB): documents
prepared, in two phases, as part of the project develop-
—
Introduction
March 1983
ment process, which provide the data necessary to program,
budget, and initiate design of proposed army construction
projects.
Slab-on-grade Construction: a concrete slab poured on
a prepared ground surface, as opposed to a floor slab above
the ground surface (with space underneath).
Proprietary : item or assembly offered as a package by
one manufacturer only, whose performance is guaranteed.
Sound Lock: a vestibule, with two doors, between a music
room and another space, designed to isolate noise.
Reflectivity: the ability to redirect, back into a space, sound
waves that strike a surface, as opposed to absorbing the
waves.
Resilient Attachment: a method of attachment to stop
transfer of sound and vibration from one material to
another; provides superior sound isolation.
Splayed Wall: a wall at an oblique angle to another; used
for acoustic purposes to diffuse sound and break up
unwanted echoes.
Reverberation: persistence of sound in a room after the
source has stopped.
Room Acoustics: The acoustical qualities—loudness,
reverberance, etc. — of a room, as determined by its size,
shape and finishes; not to be confused with Isolation or
Noise Control.
STC-Rated Ceiling: an assembly consisting typically of a
metal support grid hangers and acoustical tiles, proprietary
to a particular manufacturer, whose performance as a
sound attenuator has been tested by an independent laboratory and found to be in the range of STC 35-44.
Zoning: dividing a building design or building site design
into areas of some functional similarity for planning purposes.
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Sealant, Acoustical: a manufactured, permanently flexible material used to fill linear gaps in construction, such
as those at joints between two materials, to eliminate
openings in sound-isolating barriers.
Suspended Acoustical Ceiling: an assembly consisting of
a metal support grid, hangers and mineral fiber or fiberglass tiles; always NRC-rated, but not always STC-rated.
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Standing Wave: an accentuation of sound at specific
frequencies caused by room dimensions that are equal to
or multiples of each other.
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Reverberation Time: for a given frequency, the time
required, after the source has stopped, for the average sound
pressure level, originally in a steady state, to decrease
60 decibels (in other words, to decrease to one millionth
of its initial value).
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Renovation: construction modification of an existing
building for reuse.
Sound Transmission Class (STC): rating scale for the
effectiveness of sound-isolating constructions, based on
their attenuation at many different frequencies to arrive at
one comparative number; however, like NRC, STC does
not consider low-frequency sound as produced by bands.
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Design Guide: Band Training Facilities
Architectural Programming
March 1983
Chapter 2:
Architectural
Programming
Contents
page
2-1
2-2
2-3
2-1
2-1
2-3
2-3
2-3
2-6
2-6
2-7
2-10
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Using this Chapter
Programming Process
Functions Program
A. Overall Functions
B. Specific Functions
2-4 Space Program
2-5 Site and Building Selection
A. Site Evaluation Criteria
B. Building Suitability Criteria
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2-1 Using this Chapter
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This chapter provides guidance for developing the Architectural Program for the Band Training Facility, and criteria
for selecting an appropriate site for new construction or an
existing building to renovate.
Included are discussion of the steps and considerations
involved in the programming process, a description of
the functions the building is to accommodate and their
requirements, and the recommended set of spaces. The
chapter provides recommended space programs including
square footage allocations for all spaces, for the two standard size facilities. This programming process is primarily
the work of the band personnel with assistance from the
Facility Engineer. The product of this process—the Architectural Program—directs the engineers and designers in
the requirements the facility design must meet, and provides the basis for development of the DD Form 1391
and Project Development Brochure (see Paragraph 1-5 of
this Guide, AR 415-15, and AR 415-20).
The site selection criteria are to be applied in the site review
process described in Paragraph 1-5, Responsibilities in
the project development process (see also AR 210-20).
Because many bands are accommodated in reused
facilities, criteria for evaluation of existing buildings are
emphasized. These site and building selection deliberations should involve joint consideration by the band personnel and the Facility Engineer/lnstallation Masterplanner.
2-2 Programming Process
The steps involved in developing an Architectural Program
for the band facility are shown in Figure 2-1. This is a part
of the project development process presented in Paragraph 1-5 and Figure 1-1 of this Design Guide, leading to
the DD Form 1391 and Project Development Brochure
outputs. While this process and the considerations involved
are generally applicable, each post may adapt the proc2-1
Design Guide: Band Training Facilities
DG-1110-3-119
Architectural Programming
March 1983
A. Functional Description and Analysis. In this phase,
band personnel develop a complete picture of the local Army
Band training activities required to be accommodated,
within the guidelines of this Guide. This includes consideration of the list of functions in which the band is involved
and required for its support, the numbers and types of people involved in each, their schedules, equipment requirements, and specific activity flows.
Paragraph 2-3 presents the issues to consider in this task
and a model Functions Program, which is the product of
this phase. The functions included in this model, and the
standards provided in R 220-90, must be considered in light
of the specific local band function pattern, in developing
the program for the individual post.
C. Space Program. The outcome of the above considerations is an articulated space and performance requirements program for the facility. This includes the proposed
set of function-spaces and, for each, the proposed size,
number, spatial character, relationships, critical dimensions,
furnishings and equipment, acoustic and other technical
criteria. Paragraph 2-4 presents summary space programs
with function-spaces and area requirements. Chapter 4
provides the criteria for full development of the space-byspace program requirements.
D. Site/Building Selection. Once the space program is
developed and the overall building and site area requirements are known, site selection and evaluation of existing buildings for renovation to meet these requirements can
take place. Criteria for consideration in these evaluations
are presented in Paragraph 2-5.
E. Test by Design. Initial sketch designs test the validity
of the functional analyses and space proposals made in
the programming process. This should be done on the
basis of the site selected for construction or existing building chosen for renovation, with its particular constraints
and potentials. The sketch designs permit analysis of the
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B. Spatial Implications. This involves consideration of the
space accommodation issues of the functions program
developed above—both overall facility criteria and individual activity needs, and priorities to be applied when
necessary. Analysis is required of dimensional and quantity needs, desired spatial characteristics and relationships,
and critical technical issues, in support of each of the activi-
ties to be accommodated. Guidance in these considerations is given in Chapter 3, General Design Considerations,
and Chapter 4, Individual Space Criteria.
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ess and modify the recommended function and space programs presented in this chapter, as appropriate to local
band operations and planning requirements. The key steps
of the process include:
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Figure 2-1. Space Programming Process
2-2
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SITE OR
EXISTING
BUILDING
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Design Guide: Band Training Facilities
DG-1110-3-119
Architectural Programming
March 1983
2-3 Functions Program
The description presented here of the general and specific
functions an Army Band Training Facility must accommodate is generally valid for Active and Reserve Component
Bands. While it is recognized that each band may have
slightly different operating practices, only minor variations
in the functions program should be made for a specific
band facility. Substantive program changes may hinder future
changes in mission operations emphases.
A. Overall Function
●
●
●
●
●
●
Show Band-approximately 12 members; may be more
than one; play popular music.
Jazz Combo-5-6 members.
Various Ensembles-popular music groups, brass choir,
percussion, bluegrass, etc.; varies by post.
Chorus-typically included in a 65 person band and not
in a 45; drawn from same full band strength.
Simultaneous rehearsals of two or more of any of the
medium-sized groups or sections may need to be held.
Rehearsals sometimes include visitors and additional
players in small numbers, beyond the band personnel
themselves.
2. Practice. (see
Figure 2-3)
.
● For individuals or small groups, and sections of performance groups (2-6 persons).
● Some have large, difficult to set-up or transport instrument requirements (e.g., percussion, piano).
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The Band Officer and his senior personnel—Associate
Commander, Enlisted Bandleader, performance group
leaders, etc.—should review the functions description presented here and note minor differences in their local
operation. These local notes should be incorporated into
the Architectural Program, to inform the facility designers
of the accommodation requirements as explicitly as possible,
and should be reflected in a modified, Iocally. appropriate
, , .
space program.
1. Rehearsal. Space is required for rehearsal of the diverse
range of performance groups: (see Figure 2-2)
● Concert Band-full band strength, including brass,
woodwind, and percussion sections.
● Marching Band-full band strength, including brass,
woodwind, and percussion sections.
● Stage Band-approximately 18 to 25 members; typically
two per band; for dance-band music.
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match to local band requirements and broaden the understanding of the space needs and use. This may result in
revisions to the space program, prior to initiation of facility design and development.
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The overall function of the facility is that of rehearsal and
practice for an Army Band. The building is for the band
personnel and their serious musical activities, and support
functions required for operation of the band. Recreation
and relaxation activities take place, before or after practice and performance functions, as part of the band’s
active daily schedule. Performance and visitor use of the
facility is minor. Rehearsal and practice are always the
priority functions to accommodate.
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There are two required sizes of Active Duty Bands, to
which this Design Guide is directly addressed—45 person
and 65 person. At times, a band may not have its full
complement of personnel, but the facilities should be
designed for these sizes, which are the required levels.
While not directly addressed here, the functions of the larger
Premier Bands and of National Guard and Army Reserve
Bands are similar in many ways to those presented in this
section.
Each Army Band has a multiplicity of diverse performance
groups, outlined in 2-3.B.1, below. While the array and
size of performance groups are relatively standardized from
post to post, local variations exist in performance
emphases, schedule and frequency of activities or different groups, and specific types of small combos, which
will effect the use of the building spaces. Each installation’s
facility must accommodate the various rehearsal, practice
and support needs of its local band.
B. Specific Functions
Specific functions to be accommodated in the Army Band
Training Facility, and critical issues about their operation,
include:
3. Performance.
●
●
Not a likely or essential function in Band Training
Facilities, for most line bands; although some bands
do have, for small audiences.
Performances generally take place elsewhere on-post
or off-post, as commitments require.
4. Recording. (see Figure 2-4)
● Recordings are made for band training (playback and
study), internal Army use, and promotion (such as
recruiting). They are mostly on tape, but sometimes
records are cut for distribution.
● Not assumed to be professional-quality recording activity,
5. Library. (see
Figure 2-5)
—
.
● Music storage and retrieval, for concert-size and marchingsize music.
● Music layout and distribution for performances and
rehearsals.
● Music arrangement and copying.
● Music sorting and cataloging, care and maintenance.
● Reference books and educational materials storage and
retrieval.
● Phonograph record storage, lending and maintenance.
● Library administration.
6. Administration and Operations. (see Figure 2-6)
Activities of Bandmaster (Commander), Associate Bandmaster (for 65 person bands only), Enlisted Bandleader,
and Non-Commissioned Officers.
●
2-3
Design Guide: Band Training Facilities
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Architectural Programming
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March 1983
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Figure 2-2. Band Rehearsal (The U.S. Army Band and Chorus; Brucker Hall, Ft. Myer, Vs.)
●
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Operations activities of performance group leaders (brass,
woodwind, percussion).
● Administrative
activities, including: transportation,
operations, information, training, recruiting/re-enlistment,
performance commitments, personnel, budget, issues,
general clerical.
● Charge-of-Quarters (CQ) activities (see 9. Transition,
below).
● Information/communication, within band and externally.
7. Personal Support. (see Figure 2-7)
—
●
●
●
●
●
●
Individually-issued uniform and instrument storage.
Instrument cleaning.
Uniform pressing.
Showers and changing, before and after or between
performances.
Toileting.
Relaxation and recreation during break times; lounging,
cards, table games, magazine reading, pool, ping pong,
table hockey, etc.
2-4
●
●
Refreshments-food vending, coffee, drinks.
Mail distribution (optional function; not in all facilities).
8. Storage and Supply (see Figure 2-8)
●
●
●
●
●
●
Unit Supply administration and operation.
Receipt, storage, maintenance, issue and collection, for:
non-issued instruments and uniforms; instrument cases;
equipment, including lighting, electronic equipment, portable generators, etc.; heraldic regalia; expendable musical supplies (reeds, wax, strings); musical instrument
repair parts; general and office supplies; and linens
(possibly in Band Training Facility; may be handled at
barracks, by HQ command or otherwise).
Security is a critical concern, especially for high-cost instruments and equipment.
Uniform cleaning-collection and distribution; cleaning typically done out of facility.
Instrument repair.
Weapons storage (optional function; typically not in band
facility).
.
Design Guide: Band Training Facilities
DG-1110-3-119
Architectural Programming
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March 1983
Figure 2-5. Music Library (Brucker Hall)
●
Janitorial and building maintenance supplies and
operations.
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9. Transition.
●
●
Figure 2-3. Small Group Practice
●
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●
Entry and Circulation, often for large numbers of band
personnel simultaneously, moving in and out of
rehearsal and other activity areas.
Movement of equipment, particularly large instruments
and electronic equipment, between storage, rehearsal
and practice spaces, and outdoors.
Reception and control - for visitors, after-hours phone
coverage, security and check-in (CQ functions).
Trophy and memorabilia display.
Figure 2-4. Audio Control and Recording
Figure 2-6. Band Administration
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Design Guide: Band Training Facilities
March 1983
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Architectural Programming
Figure 2-8. Large Instrument Storage
10. Outdoor Activities. (see Figure 2-9)
tion of the spaces to be included and their recommended
relationships. (see Figure 2-10)
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Figure 2-7. Individual Instrument Storage
Outdoor rehearsal, marching practice, ceremonial drill.
● Performance-possible, but not essential at the Band Training Facility.
● Parking for all band personnel, plus visitors.
● Delivery, loading and unloading of equipment and
instruments.
● Bus loading and unloading.
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●
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2-4 Space Program
A Space Program is developed to indicate the space
requirements to accommodate the functions in the Functions Program, discussed in Paragraph 2-3. It includes
the set of required spaces, their areas, and their critical spatial characteristics, relationships, technical and support
requirements, for a Band Training Facility.
Table 2-1 provides a summary list of the set of spaces
to be included in the space program, and recommended
square foot areas for each of these spaces, for Band
Training Facilities for 45 person and 65 person bands.
Detailed presentation of the critical dimensional and spatial characteristics, relationships, technical and other requirements for each space is found in Chapter 4, Individual
Space Criteria. Figure 2-3 provides a diagrammatic presenta2-6
As discussed in Paragraph 2-3, these space program recommendations are generally applicable to the two indicated
sizes of Active Duty Bands. They provide an adequate, but
not overly generous, accommodation of the requirements
of these bands. However, local differences in operational
patterns and function programs may require some modifications to the space program to be most suitable to local
needs. These differences may, for example, include: larger
or smaller size for individual spaces; different relationship
patterns between spaces; or elimination or addition of
specific spaces for identified local functions. Local band
personnel should review the recommended programs and
make changes based on specific functional and operational
differences, following the functional accommodation
approach and spatial character guidance provided in this
Design Guide.
2-5 Site and Building Selection
Selection of a site for construction of an Army Band Training Facility must be based upon the locally developed functions and space program, as described in the previous
sections of this chapter, and on the site evaluation criteria
outlined below. Where renovation of an existing facility
for band training purposes is being considered, all the same
Design Guide: Band Training Facilities
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Architectural Programming
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Figure 2-9. Outdoor Performance
site selection criteria apply, plus the building suitability
criteria outlined in subparagraph 2-5.B.
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Individual sites or buildings being evaluated may not be
able to meet all the criteria indicated. Certain site and building suitability criteria, as discussed below, are essential
to a viable band facility and must be met. Others, which
are desirable but not mandatory, should be considered
and used to rank alternative possible sites or buildings
against. Judged against all these factors, the overall most
satisfactory site should be selected. Where an existing facility to be renovated is being selected, satisfying the essential criteria for building suitability for band functions will
typically outweigh the less critical site location factors.
and marching practice; loading dock/outdoor performance
area, with truck and service access; parking area for all
band members, plus visitors; automobile and bus drop-off
and loading zone, plus access drives. See Table 2-1 for
recommended area requirements for these outdoor functionspaces for the two facility sizes. Assume the site area
required for the building itself equals the gross total area,
including mechanical, as shown in table 2-1.
Significant requirements and criteria for evaluation of potential sites for Band Training Facilities include:
2. Desirable Proximities. It is preferred for Band Training
Facilities to be located near the installation parade ground,
for convenience of performance of the ceremonial functions which are a prominent part of the band’s activities.
Proximity to general post operations areas, for performance convenience, and to band personnel billets, for
access convenience, are also desirable. However, many
performance commitments, and housing for much of the
band, will inevitably be found elsewhere, in dispersed
locations.
1. Site Size. The site must be large enough to comfortably
accommodate the band training building and all the outdoor function-spaces: a drill area for outdoor rehearsal
Co-location of band training and band personnel billets
in the same structure may be considered. Some savings
would be likely in shared personaI support spaces, such
A. Site Evaluation Criteria.
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DG-1110-3-119
Design Guide: Band Training Facilities
Architectural Programming
March 1983
Table 2-1 Recommended Space Allocations for Army Band Training Facilities Area Requirements
Area Requirements
45 Person
spaces
required
Main Rehearsal Room
1
Practice Rooms
Large Group
Small Group
Large Individual
Small Individual
1
1
2-4
6-8
total 8-10
Net Sq. Ft.
(NSF)
1,575
250
1
500
Offices
Commander
Associate Commander
Englisted Bandleader
NCO/Performance Group
Leaders
Administration and
Operations/Transportation
1
0
1
1 w/3
desks
1 w/4
desks
200
—
150
210
1
1
1
520
75
640
425
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0
Transition
Lobby
Circulation
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Outdoor Spaces
Drill Area
Loading Dock
(Performance/Loading
Combined-Optional)
Parking Area
2,275
700
300-350
80-125 ea.
55-65 ea.
total 1,145
250
1
640
1
1
1
1 w/4
desks
1 w/6
desks
1
1
1
-1
200
150
150
280
575
680
75
860
1,200
480
50
1
1
1
1,000
100
50
1
1
1
1,300
100
50
1
600
as needed
1
900
as needed
1
1
30,000
300
(1,500)
1
1
30,000
300
(1,100)*
45
13,500
65
19,500
Total Indoor Spaces-Net Only
9,500
12,760
Circulation, Walls, etc. @ 25%
2,380
3,190
11,880
15,950
Mechanical Spaces @ 5%
600
800
Total Including Mechanical
12,480
16,750
GROSS TOTAL
* If performance option is chosen, square footage includes 300 S.F. loading function.
2-8
Net Sq. Ft.
(NSF)
1
880
450
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Storage and Supply
Unit Supply/Storage
Instrument Repair
Janitor’s Closet
1
2
3-6
9-12
total 12-15
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Library
Personal Support
Individ. Instr. Lockers
Instrument Cleaning
Day Area
Toilets/Lockers/Showers
men
women
Officer’s Toilet
1
700
300-350
80-125 ea.
55-65 ea.
total 825
Recording/Audio Control Booth 1
spaces
required
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Function-Space
65 Person
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Design Guide: Band Training Facilities
Architectural Programming
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Cleaning
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Loading/
Performance
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Figure 2-10. Spaces and Relationships for Army Band Training Facilities.
as day areas and showers. However, potential problems
exist in security control of access doors, and in sound
transmission and interference between the two functionareas.
3. Inappropriate Proximities. The site for the band
facility must be quiet, located away from truck routes,
heavy equipment operations, runways and flight paths, and
helicopter landing areas. The outdoor practice field must
not be located between closely spaced buildings, especially with facing parallel walls, to avoid echoes which
make hearing and practice difficult. Functions in buildings
adjacent to the Band Training Facility should not be those
which would be disturbed by outdoor practice or performance noise.
4. Site Access. The site configuration and relationships to
access roads should readily permit design of good, separate patterns for the multiple access needs of the band
facility. This should include service access to the loading
dock and mechanical space distinctly separate from the
main entrance, preferably to the side or rear of the building.
The parking area access should also be separate. The
potential should exist for the provision of a car/bus dropoff
space at the main entrance.
5. Topography. The topography of the site should be easy
to develop at minimum cost, with no extraordinary requirements for foundations or drainage. Slopes in the building
area and the surrounding outdoor activity spaces should
not require expensive grading and site preparation, or
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Design Guide: Band Training Facilities
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Figure 2-11. Site Evaluation Criteria
difficulty for bicycle and wheelchair access. Flat or slightly
ramped access to the building is particularly important
because of the frequent movement of large instruments and
equipment. However, the ground around the service apron
should slope down toward the loading dock, t O form a natural amphitheater for outdoor performances. If a site is
otherwise acceptable, construction of earth berms may be
used to form the amphitheater. (see Figure 2-11)
B. Building Suitability Criteria
There are two approaches to utilizing an existing building
to renovate as a Band Training Facility. One is to find a
building which is: at least as large as the required area to
2-10
accommodate all the program spaces; built of heavy construction (masonry or concrete), to provide the required
acoustic properties; and with sufficient space of a minimum 15-foot ceiling height to accommodate the Main
Rehearsal and Large Group Practice Rooms. Such a building could be used to house the band training functions
entirely within the existing structure (see Figure 2-5 for
example). The criteria for selecting a building suitable for
this purpose are discussed in detail below. (see Figure
2-12)
The second approach is to find a building smaller than the
required program area, and add the musically critical
rooms in new construction (see figure 2-6). Square footage can be between 5,000 and 10,000 square feet, for
a 45-member band, with new construction bringing the total
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Design Guide: Band Training Facilities
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Architectural Programming
to 12,000 to 13,000 square feet. This approach insures
that music rooms- rehearsal, practice, control-will perform adequately, and have proper construction, shape,
volume and isolation, to meet band training acoustic
requirements. In addition, this approach provides better
construction quality control standards for the acoustically
sensitive spaces, typically easier to achieve in new construction than in renovation. (see Figure 2-13)
The following are the significant requirements and criteria
for evaluation of potential buildings for renovation as Band
Figure 2-13. Band Training Facility in Renovated Existing Building plus Additions
Training Facilities. The site location criteria are the same
as for a newly constructed building, discussed above, but
may not be as fully realizable, given the location constraints of available buildings. The location benefits must
be balanced against the quality and adaptability of the
available facilities and the economic benefits of renovation
2-11
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Design Guide: Band Training Facilities
March 1983
Architectural Programming
1. Building Size. The building size must be at least equal
to the band training program square footage, and preferably larger, unless additional construction is planned. Conversion usually requires more square footage in order
to fit all the required functions and spaces within the existing configuration and structure. For a 45 person band,
the building should be between 12,500 and 15,000 square
feet; for a 65 person, between 17,000 and 21,000 square
feet. Minor compromises in the area of individual program
spaces may need to be accepted to fit within an available building, but these should be made in the support,
administration and the secondary spaces, not in the primary music spaces.
5. Environmental Systems Reuse. Reuse of expensive
elements of the existing building such as plumbing and
mechanical systems is economically advantageous.
Building suitability evaluation should reflect the feasibility
of this reuse, in the context of the function layout and
relationship requirements for Band Training Facilities, as
presented in Chapter 3.
In order to reuse plumbing systems and toilet rooms, they
must be located in an area of the building that is usable
for the more private band functions, rather than near spaces
to be used for semi-public activities such as music
rehearsal, practice or lobby. If mechanical systems are to
be reused, they must be capable of being modified to
include humidity control for protection of instruments. Noisy
equipment should not be near spaces to be used for
music practice. All these systems must meet the requirements in Paragraph 3-6, Environmental Systems Design.
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2. Ceiling Height. It is absolutely necessary, when
attempting to install music rehearsal and practice rooms in
an existing structure that there be areas of high ceiling
heights—15 to 30 feet—to accommodate the large acoustical volume required for band practice. Without this high
space, sound levels will be excessive and potentially dangerous to band personnel’s hearing; and the quality of
sound and ability to hear others will be impaired. For a 45
person band, at least 2,200 square feet of high space is
required; for a 65 person band, at least 3,000.
3-5, Acoustical Considerations, for further explanation).
Buildings of other types of construction may be used, but
with less successful results and with difficult renovation
techniques required (see Chapter 5, Practical Approaches
for Acoustical Construction, for discussion of these systems and techniques). Large open interior spaces are easier to renovate to fit band space requirements. Especially
for the music spaces, structural bay sizes of 20 feet by 30
feet or greater are preferred.
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versus new construction. However, the essential building
suitability criteria, as indicated below, must be fulfilled, overriding any site evaluation factors, because without these
the facility will not perform adequately for band training use.
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3. Single Level. The existing building configuration should
be such that all music rehearsal, practice, storage, and
instrument areas can be on one level. A loading dock should
be on the same level. This will make movement of large
instruments and equipment easier. Any building configuration that results in use areas above or below music rooms
should be avoided.
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4. Construction. Band Training Facilities should be of
permanent construction. Massive construction systems—
masonry or concrete—are inherently more suitable for
band facilities, for sound isolation reasons (see Paragraph
2-12
6. Budget Constraints. The renovations required to meet
band training programmatic needs must be accomplished
within the budget limitations set by Army regulations for
additional investment, relative to the type and value of the
facility. The cost of renovating an available existing facility must be compared with the cost and relative appropriateness of new construction. Only part of a desired renovation may be able to be afforded, or the work may need to
be supplemented by band personnel. In such a case,
the decision must be made whether a partial level of satisfaction of band desires and needs is appropriate as a
basis for project development.
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March 1983
General Design Programming
Chapter 3:
General Design
Considerations
Contents
page
3-1
3-2
3-3
3-4
3-5
3-1
3-1
3-3
3-5
3-10
3-10
3-13
3-13
3-15
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3-6
Using this Chapter
Site Design
Overall Building Design
Space Relationships
Acoustical Considerations
A. Sound isolation
B. Noise Control
C. Room Acoustics
Environmental Systems Design
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3-1 Using this Chapter
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This chapter presents the considerations to be applied
in site design and overall building design for Band Training Facilities. It provides particular guidance in space relationships which the building layout should reflect and in
environmental systems design. Most important for this
facility, this chapter also presents the general principles of
acoustic design and their implications for design of the
whole band facility.
These general considerations are to be used by the engineers and design architects in the Concept Design phase,
when the major spaces and space relationships of the
proposed design are developed. They should continue to
be referred to, along with the more specific Individual
Space Criteria in Chapter 4 and Practical Approaches for
Acoustic Construction in Chapter 5, throughout the Final
Design work. The issues discussed in this chapter are also
essential for the Army Bands personnel and Facility Engineers to understand. It should inform their development of
the Architectural Program and the materials for the Project Development Brochure and DD 1391, which determine
the requirements the architectural design must meet.
3-2 Site Design
Site planning and design must be in accordance with the
approved Installation Masterplan and applicable portions
of DOD Manual 4270.1-M, TM 5-803,5, TM 5-822-2, and
TM 5-822-3; and the completed Project Development
Brochure. Site evaluation criteria are discussed in
Paragraph 2-5. The major issues to be considered in site
design for Band Training Facilities are itemized below.
For further detail about specific outdoor space design,
see Paragraph 4-16, Outdoor Spaces.
A. Zoning Related to Building. The several outdoor
activity areas required on the band training facility site
should be zoned to relate closely to functionally3-1
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Design Guide: Band Training Facilities
General Design Programming
March 1983
connected indoor areas of the building. An Entry Court
should be created at the front of the facility, as an approach to the Main Entrance. An Outdoor Terrace or
Patio for band personnel recreation and relaxation should
be adjacent to the Day Area, with direct access from inside. This terrace should be separate from the front entry
court, and protected from exposure for the privacy of
band personnel.
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The Loading Dock and service area, which may double
as an Outdoor Performance area, should be immediately
outside the Unit Supply/Storage space, and near the
Main Rehearsal Room, for ease of movement of large
instruments equipment and supplies, in and out. The Drill
Area, for outdoor rehearsal and practice, should be
relatively close to the building and convenient to the Unit
Supply/Storage and main Rehearsal Room for instrument
and equipment movement. As discussed in Paragraph
2-5, this outdoor practice area should not be located
between closely spaced buildings, to avoid reverberant
echoes. (see Figure 3-1)
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B. Outdoor Performance Potential. It is desirable for the
site design to include provision of an Outdoor Performance
area in the Loading Dock/service area. The loading dock
can provide a performance stage, facing an audience
space in the service apron and surrounding area. Behind
the loading dock, the building should form an inside corner to help reflect and project the sound toward the audience.
The building massing may also partially shield this space
Figure 3-1. Site Zoning
3-2
Figure 3-2. Outdoor Performance Area
from street noise; but no building should be placed directly
behind the audience. The ground around the service
apron should slope up away from the loading dock, to form
a natural amphitheater for the audience. This may be
achieved through use of natural land forms or created with
earth berms. (see Figure 3-2)
C. Access Separation. The site design for the band
facility should, if possible, provide differentiated access
routes for the different functions: The Main Entrance should
be evident at the front of the building, with a car/bus dropoff immediately nearby, and a direct path to the parking area.
The Loading Dock/service access should be distinctly
separate from the Main Entrance, to the side or rear of the
building. The Parking Area should also have its own
access, if possible. The Mechanical Space access may be
combined with the service area or parking area access.
All access should be designed to Army standards and be
clearly marked, for easy movement and loading of instru-
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DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
General Design Programming
for highest quality design and accommodation of these program requirements.
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B. High-Volume Use. The Band Training Facility is a
heavily used building, with an unusual, high-volume use
pattern. The facility is frequently occupied by all 45 or 65
occupants at once, but intermittently has no or few users,
when the band is away on performance commitments.
Furthermore, all or almost all 45 or 65 people will often
be using one part of the building at the same time, on an
intensive, time-constrained schedule - for example, when
they are all rehearsing in the Main Rehearsal Room, or
quickly changing and preparing for a concert in the
Locker/Shower and Individual Instrument Locker areas. Thus
these major parts of the facility, and the circulation to
them, must be designed to accommodate intensive use by
large volumes of people, even though the rest of the building may simultaneously seem underutilized.
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Figure 3-3. Access Separation
C. Music Spaces Predominant. Among the spaces in
the band facility program, the most important unquestionably are the music spaces—the Main Rehearsal Room,
Group Practice and Individual Practice Rooms. This
predominance should be reflected in the design. The requirements of these spaces, spatially and in relationships,
should take priority in the design considerations. If any
compromises in the program must be made, they should
be in the other, support spaces—not the music spaces. This
importance should also be evident in their prominence
in the architectural form and image of the Band Training
Facility (see Figure 3-4).
ments, equipment and personnel for the frequent travel
required for band commitments. (see Figure 3-3)
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D. Landscaping Definition. The landscaping should be
used to define and separate the outdoor spaces and
access routes for the band facility site. Trees, shrubs, fences
and outdoor furnishings should be designed to define
the overall band site, divide function-spaces, screen areas
that need privacy or protection, and characterize each
area, as shown on Figure 3-1. However, where acoustic
isolation is desired, as for the Drill Area, earth berms or
solid walls should be provided as buffers; trees and other
vegetation will not stop sound.
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3-3 Overall Building Design
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This section discusses considerations which affect design
of the whole Band Training Facility or apply to all the component spaces of the building and their organization. One
of the most significant factors in band facility design—the
acoustic design considerations, including sound isolation,
noise control and room acoustics—is separately presented
in Paragraph 3-5, Acoustical Considerations. Issues of
zoning of the building organization and relationships between
spaces are presented in Paragraph 3-4, Space Relationships.
A. Home of the Band, While their performance activities
may have the bandmembers work in many locations, the
Band Training Facility is the one centralized “home” they
have as a group. As such, it must be an attractive place
for them to be, that provides good accommodation of the
band’s particular functional needs. The space program
(see Paragraph 2-4) requires a specific set of spaces, many
with specialized technical, acoustic and equipment requirements (discussed in Paragraph 3-5 and the Individual Space
Criteria in Chapter 4). The band facility design must strive
D. Band Image. As the “home” for the band, this facility should in its architectural image help project an identity for the band. The band is an important component of
the morale and esprit de corps of a post or unit. It should
present a good-looking image, in its performances and in
its facility. The building should have an attractive presence,
to passers-by and visitors approaching from the outside,
and to those inside. It should present a distinctive, identifiable image as a band facility. In part, this can be achieved
through the architecturally prominent and musically appropriate design of the predominant music spaces (as shown,
for example, in Figure 3-4).
E. Ample and Clear Circulation. The building circulation
system must accommodate the heavy use required and provide clear access to all spaces. The high-volume use
described above means that the circulation systems will often
have to accommodate a rush of the full 45-or 65-member
band composition at one time—particularly in the areas of
the Main Rehearsal Room, Lobby, Individual Instrument
Lockers, and Toilets/Lockers/Showers. In addition, large
instruments (pianos, tympani) and equipment (lights, electronic equipment) are often moved through the circulation
system to different practice spaces, storage, or outside. The
size of all elements of the circulation must be considered
to ensure adequacy for these movements. This affects both
the overall spaces and critical junctures—as, for example,
the ability to turn an upright piano from the corridor through
the door of an Individual Practice Room.
The access pattern to all building spaces should be clear
when one enters the facility. There should be good views
3-3
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Design Guide: Band Training Facilities
General Design Programming
Figure 3-4. Band Image
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should be made as to what is financially feasible and
what compromise on program accommodation is acceptable.
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or understandable routes directly from the Lobby. The organization and zoning of the building, as discussed in Paragraph 3-4, should reienforce this clarity of access. Provision
of all band spaces on one floor will significantly benefit
the ease and clarity of circulation. (see Figure 3-5)
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F. Renovations. Renovation of an existing building is a
common means of creating a Band Training Facility. The
criteria for building suitability for renovation are discussed
in Subparagraph 2-5.B. In converting an existing building
to a Band Training Facility, most of the objectives and
requirements described for new construction apply. However,
some particular constraints and opportunities do pertain
to planning and design for this type of facility:
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1. Alternative Space Fits. Once an existing building is
selected, consideration must be given to how it can best
serve as a Band Facility, given the constraints of the structure and existing space configuration. Accurate survey
drawings of the building, showing the size of the existing
spaces, the location of walls, windows and doors, and
the structural and environmental systems, are required. Alternative patterns fitting function to space should be developed according to the general and individual space criteria
presented in this chapter and Chapter 4. This will involve
consideration of possible modifications to the building—
removal of walls, combination or division of spaces,
changes of windows and entrances, relocation of building
support systems, and additions outside the original
structure. The relative costs of these alternative renovations,
and their benefits in terms of completeness of program
accommodation, must then be weighed. Priority choices
3-4
2. Renovation Design. The general design guidance on
the types of spaces, character, relationships, sequences,
and views should apply to renovation as to new construction.
Some compromises on recommended design criteria may
be necessary to adapt to existing building structure, space
and dimensions (see, for example, the illustrative plan
in Figure 3-6). Redesigning interior partitions, spaces and
circulation may still not provide the exact programmatic
match of spaces and relationships required, and additions
beyond the existing volume may be needed. See Subparagraph 2-5.B for discussion of the two alternative renovation approaches, either entirely within the existing
structure, or with the addition of the musically critical spaces.
3. Renovation Implementation. Major renovations require
significant expenditure and must be implemented through
the standard procedures of the MCA program, as discussed in Paragraph 1-5 of this Design Guide and in AR
415-15. Minor renovations, costing several hundred thousand dollars, can be funded under the Minor Construction
program, with cost limitations and implementation procedures as described in AR 415-35. Some renovation work
is likely to be of a scale that band personnel can accomplish by themselves, or together with the direct involvement of Facility Engineer personnel, following the
guidance in this document (see particularly Chapters 4 and
5). Renovation, particularly when it involves such contributed effort, presents a low-cost potential for providing band
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General Design Programming
March 1983
of DOD 4720.1-M, the National Fire Protection Association (NFPA) Life Safety Code-101. The variety of activities,
potential maximum occupancy and structure loads, and fire
hazards, must be considered in design of building layout,
circulation, exits, fire detection, alarm and other systems.
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A particular safety concern pertinent to Band Training
Facility design is the potential hearing damage and health
problems affecting band personnel which can result from
improper acoustics in practice and performance spaces.
Continuous exposure to high sound levels can lead to
hearing loss, and band facility design and operation should
comply with requirements in Occupational Safety and
Health Act (OSHA) documents, including OSHA Standard
1910.95. Proper acoustic design of Band Training Facilities to avoid such problems is described in paragraph 3-5
and Chapter 5.
3-4 Space Relationships
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Significant space relationships to consider in the layout
of the Band Training Facility plan are presented in this
section. Many are based on sound transmission and isolation issues, which are explained in Paragraph 3-5, Acoustical Considerations.
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Figure 3-5. Ample and Clear Circulation
facilities that would not be funded under new construction programs.
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G. Interior Design and Signage. Interior design features
must be developed in coordination with the architectural
design. All features of the building relative to the interior
design, whether they are furnished and installed as part
of the construction contract or provided later by the using
service, must be developed as an overall scheme. Graphic
design and signage should be included as part of the overall design to identify activities and facilitate functional
effectiveness. See DG 1110-3-122 for guidance on interior
design, and TM 5-807-10 on signage. Requirements must
be coordinated with the using service and the installation.
H. Design for the Physically Handicapped. The Band
Training Facility must be designed to provide a barrierfree, accessible environment that will enable all band personnel and visitors to utilize the entire facility. The design
must comply with the requirements of ER 1110-1-103.
Although training facilities generally are exempt from handicapped requirements, the Band Training Facility must provide this accessibility, because it will host visitors to the
installation, potential enlistees, local high school bands and
similar guests, some of whom may be handicapped.
I. Life Safety. The band facility must be designed to insure
the physical safety of all its users. It must conform to the
safety, seismic, and fire protection design requirements
A. Single-Story Facility. It is strongly preferred that the
Band Training Facility be all on one level, in a single-story
building. This avoids the problems of sound transmission
up or down, from or to band practice spaces, with the resultant disturbance of band activities. This requirement not
to be over or under other uses spaces is essentially critical for the music spaces—the Main Rehearsal, Group
and Individual Practice, and Audio Control Rooms.
A single-story building readily permits construction of
spaces of different ceiling heights or with sloped roofs, as
is desirable for the music rehearsal and practice rooms
(see Figure 3-7). The single-level plan, with at-grade access
on the same level, also provides the best circulation for
movement of large instruments and heavy equipment
between the various use spaces and to the outside.
B. Public and Private Zones. One of the major spaceorganization considerations in the layout of a band facility is their division into “public” and “private” zones. Although
the building is primarily used by band personnel themselves, there are more “public” areas—Main Rehearsal
Room, Group Practice Rooms, Library, Offices—which
are likely to receive visitors on occasion, such as installation Command personnel or nearby high school bands
and other musicians. These spaces should be designed
and maintained to be presentable to visitors. The circulation to them should be shielded from views of the more
“private” band activity spaces.
The “private” zone includes the spaces used exclusively
by band-members, with rare outside visitors—lndividual
Instrument Lockers, Day Area, Toilets/Lockers/Showers, Individual Practice Rooms. These are spaces where band
personnel should feel at ease, for doing their own personal practicing, preparing, or relaxing. Their layout and
design, and the circulation and views to them, should pro3-5
Design Guide: Band Training Facilities
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Figure 3-6. Example Renovation Design
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vidual Practice Rooms. Both these movement patterns must
be conveniently accommodated; but the former, involving
heavy, large equipment, should be emphasized. This leads
to the recommended clustering of the Unit Supply/Storage
near the large practice spaces and Loading Dock (see Figure 3-9).
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D. Supervision. Supervision is important in the Band
Training Facility, for security for the facility and its expensive equipment, and for control of the activities of band
personnel. Many of the major musical instruments and
items of electronic equipment used by the band cost thousands of dollars, as do the sets of sheet music for many
performance pieces. The Charge-of-Quarters (CQ) is responsible for after-hours control of all people entering or leaving the facility, and for the general security of the building
and its concerns. This includes restraint of possibly rowdy
activities by personnel in the Instrument Lockers/Day Area.
The CQ desk must be located to provide good overview
of the Main Entrance, Instrument Lockers and Day Area,
and preferably also of the Service Entrance and doors
to the Unit Supply and Storage Rooms, where many of the
valuable items are kept (see Figure 3-10).
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Figure 3-7. Single-Story Facility
E. Specific Space-to-Space Relationships. Important
space-to-space relationships in the band facility, in addition to the considerations discussed above, are indicated
below and illustrated in Figure 3-11. Further discussion
of the individual spaces and their relationship criteria are
found in Chapter 4, Individual Space Criteria.
vide a sense of privacy and protection from outsider
intrusion. (see Figure 3-8)
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C. Use Sequences. The band facility space relationships
should reflect two important sequences of space-use typical of band activities:
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1. Individual Instruments and Uniforms Storage. Upon
entering the facility, band personnel will frequently go to
their Instrument Lockers to get their instruments, and then
proceed with them to their activities in the Rehearsal and
Group Practice Rooms, to the Individual Practice Rooms,
to the Library to get sheet music, or to performance commitments outside the building. After these activities, they
will typically reverse this pattern, returning their instruments to the lockers, and then going to relax in the day
area or leave the building. Before getting their instruments,
they often must go change into uniforms and prepare for
performances in the Toilet/Shower/Locker area. This primary movement sequence leads to a recommendation that
the Individual Instrument Locker area be central to the
facility, with direct and convenient access to all these other
use-spaces (see Figure 3-9).
2. Unit Supply/Storage. Another basic sequence in the
functioning of the band facility is the movement of items
issued from the Unit Supply/Storage area to the primary
use-spaces of the building. Large, heavy equipment and
instruments are frequently moved from this area to the
large practice spaces—Main Rehearsal Room, Group Practice Rooms, Outdoor Performance and Drill Areas, and
performance places elsewhere. Other items issued here—
small instruments, clean uniforms, expendable music
supplies—tend to be taken from the Unit Supply desk to
the Individual Instrument Lockers, clothing lockers, or lndi-
1. Main Rehearsal Room/Group Practice Rooms/Audio
Control Booth. The large rehearsal/practice rooms should
not be adjacent to each other, wherever possible, for
acoustic isolation reasons (see also Paragraph 3-5). The
Main Rehearsal and Large Group Practice Rooms should
have visual connection to the Audio Control Booth, to permit eye-level communication between the bandleader and
control booth personnel. The Main Rehearsal Room should
have close access to the Loading Dock/Outside Performance area, for equipment movement.
2. Individual Practice Rooms. These should be convenient to the Individual Instrument Lockers, and preferably not adjacent to other rehearsal/practice spaces. They
must not have doors for direct access from other
rehearsal/practice spaces.
3. Library. This Library should be central to the whole
facility, as a visible, focal place for band training functions,
and for easy distribution of sheet music to bandleaders,
personnel, the Main Rehearsal Room and all Practice
Rooms.
4. Offices. The administrative spaces should have direct
access from the Main Entrance. They should be separated
and shielded from the noise and activity of the Individual
Instrument Lockers/Day Area, and of the rehearsal/practice spaces. The CQ desk, at the entry to the administrative offices, must have all the visual connections indicated
under 3-4.D, Supervision.
5. Individual Instrument Lockers/Instrument Cleaning.
These spaces should be located together in a central
position to the entire facility (see 3-4.C.1.). They should be
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Figure 3-8. Public and Private Zones
especially close to the Individual Practice Rooms, Day
Area, and Toilets/Lockers/Showers. They must be overseen by the CQ.
6. Day Area. This relaxation space should be private and
protected (see Subparagraph 3-4.B), but under some
supervision from the CQ desk (3-4.D). It should be adja3-8
cent to the Individual Instrument Lockers area, and have
direct access to the Outdoor Patio.
7. Toilets/Lockers/Showers. These support spaces
should have convenient access from all parts of the facility.
While closeness to the Individual Instrument Lockers is
desirable, access to the toilets should be possible from the
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Figure 3-9. Use Sequences and Building Relationships
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is no better than the band’s training and practice. This
can only be effective if band personnel can hear themselves and each other clearly, and be heard by the bandmaster for instruction. Control of the quality of sound within
the music rooms, and of the ability to hear without distraction from noise from other rooms, is essential.
This section sets forth the principles of design for acoustic quality and sound isolation, and their implications for building organization. Specific room descriptions based on
these principles are found in Chapter 4, and details for
construction to meet acoustic requirements are presented
in Chapter 5.
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The three areas of concern in designing a functionally
suitable sound environment are:
●
Sound isolation-reducing or eliminating the passage
of unwanted sounds (noise) from other rooms into
sound-sensitive rooms;
●
Noise Control-the design of mechanical systems so
as to achieve sufficiently low and sufficiently even
background noise levels.
●
Room Acoustics-the quality of sound that bandsmen
generate and hear within their practice rooms.
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A. Sound Isolation
Figure 3-10. Supervision Relationships
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“public” parts of the facility without going through the individual Instrument Lockers/Day Area.
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8. Unit SuPDlv/Storaae/instrument Repair. These
support spaces should be close to the Service Area/Loading Dock; and the Main Rehearsal and Group Practice
Rooms, for ease of movement of large instruments and
equipment (see 3-4.C.2). The access to the Unit Supply
Room should be under the overview of the CQ, if possible.
The Instrument Repair space should be part of the Unit
Supply/Storage block.
9. Circulation/Lobby. The Circulation System should
provide convenient access to all building spaces. The
Lobby and Circulation System must be able to accommodate all of the band at once in rush-time movement from
the Main Rehearsal Room and for preparations between
performance commitments. “ “
3-5 Acoustical Considerations
Although the Band Training Facility is not a place for performances to be presented, acoustic issues must be the
foremost consideration. The quality of band performance
3-10
1. Principles. In order for instruction and practice to be
effective, music practice rooms must be quiet and without
distraction from noise sources outside the room. Every
level of decision in the design and construction process has
an impact on how successfully unwanted sound (noise)
is kept out of music rooms, from the choice of structural
system and building organization to details such as the
installation of lighting fixtures.
The sound generated by bands includes low frequencies.
Ordinary noise problems (notably speech) involve higher
frequencies, which can be attenuated (reduced) by relatively light constructions. The primary method of comparing attenuation between different materials or assemblies
is by Sound Transmission Class (STC), which considers
performance from 125 to 4000 Hertz (cycles second).
The resulting single-number methods works well for ordinary sound problems, but due to the preponderance of
low frequencies in Band Practice Facilities, the STC will
not necessarily indicate good performance. Materials must
be compared on the basis of their ability to reduce low frequency sound. Therefore caution must be used in relying on STC as a guide.
Approximate numerical criteria can still give a means for
understanding the issues involved in isolation, as well as
being of use in selecting methods of building, keeping
in mind that they will be less accurate for lightweight
construction. For each room type, an amount of acceptable background noise can be assigned, and then the adjacencies of other room types and the noise they generate
determined. The difference between the acceptable background level and the noise generated in the next space
will give the amount of noise that the construction between
must eliminate.
For example, the Main Rehearsal Room is assigned a Noise
Criterion rating of 25 (NC 25)*. That is, background noise
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Figure 3-11. Space-to-Space Relationships
up to 25 decibels is acceptable. If the rehearsal space is
placed directly next to the Large Group Practice Room,
which might generate 95 decibels, the construction between
them ideally should reduce the sound by 70 decibels,
requiring an STC rating of 70. Specific constructions and
their STC ratings are discussed in Chapter 5; but, in
*NC curves, describing sound level as a function of frequency,
embody both speech interference and annoyance considerations.
The numbers represent decibles and have a built-in allowance
for increased low-frequency noise to which our ears are less
sensitive. For details, see the Sound and Vibration Control
Chapter, ASHRAE Systems Volume.
general, an STC of 70 requires very sophisticated construction, possibly two parallel, unconnected masonry walls.
Therefore, the best course is to organize the function-spaces
of the building so that noise generators such as music
practice rooms and mechanical rooms are not next to other
music rooms. Quieter activities such as corridors, offices
and storage should be used as buffers between noisy
activities. The noise reduction will not have to be as great,
and constructions can be simpler.
The recommended criteria for Band Training Facilities
are found in Table 3-1. These criteria do not imply silence.
They range from a rather quiet NC-25 to a moderately
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General Design Programming
Table 3-1 Recommended Sound Isolation Criteria
for Band Training Facilities
allowable
noise from
outside
Recording/Audio Control
Booths
Main Rehearsal Room
Group Practice Rooms
Individual Practice
Rooms
All other occupied
spaces
generated
noise
max. NC-25 --max. NC-25 100 dB
max. NC-30 95 dB
max. NC-35 90 dB
max. NC-40 ---
Isolation can be increased further by building an independent “room” within the heavy walls already constructed, or
adding another separate masonry wall next to the first
(see Figure 3-12). These added elements must be isolated completely in such a way that the vibration of one
barrier will not be passed on to the other. An independent
skin of gypsum wallboard or plaster, attached to walls
and roof with resilient clips, is very effective.
Factory-made sound modules are an effective means of
providing smaller practice rooms of good quality, either in
conversions where dependable construction may be
difficult, or in new construction. They provide light, heat and
air supply and all interior finishes. They may also be useful for Recording/Audio Control Rooms (see Figure 3-13).
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2. Construction Implications. Some types of construction
are inherently more suitable for band facilities. Since sound
is a transmitted vibration, its isolation requires constructions that are not easily set into vibration. Concrete slabs,
solid or sand-filled masonry or concrete walls, and concrete roofs are appropriate, because their weight helps stop
low frequency sound. Design consideration should begin
with a massive construction system rather than a lighter
framework that will require elaborate soundproofing later,
to less effect. Continuous metal roof decks and steel frames
are not recommended, because they will transmit vibration throughout the building, no matter how good the wall
construction.
an opening between two music rooms, then the connection should involve a pair of doors facing each other
across the widest space possible.
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noisy NC-40. The largest of the music rooms must be
quietest, because here musicians who may be dispersed
over a large area still must hear each other. So must the
audience, if present. With decreasing room size and
reduced occupancy, audibility inherently improves. In the
smaller rooms, even with the suggested, higher background noise levels, adequate signal/noise ratios are still
retained (background noise will be discussed later).
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Rehearsal and practice rooms are best located on grade.
This eliminates the need for double floor constructions,
which would be necessary not only for vertical isolation
(to/from the rooms below), but also to stop sound from
propagating horizontally along the unrestrained upper-floor
slab.
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Sound waves travel freely in air, so it is imperative that all
music rooms are sealed boxes, with no air gaps—even
tiny ones—or defects in construction. Partial separations
and semi-open planning are totally inadequate, as are
folding partitions. Flexible acoustic sealants are an essential part of good acoustical construction. Elaborate layers
of materials are wasted if poor workmanship at the joints
and corners allows air passage. This includes joints where
partitions meet the roof, seals around doors and windows,
and where mechanical and electrical lines penetrate walls.
Doors are the weakest point in the enclosure, and must
always be fully gasketed, unless they are incorporated
into a sound lock (two doors separated by a vestibule). It
is more dependable to install a series of doors with a
sound lock, than to depend on one expensive soundinsulated door. Gaskets need periodic adjustment, and
misuse can make them ineffective, whereas a sound lock
will always perform its function. If it is necessary to have
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Figure 3-14. Ductwork Design to Reduce Sound
Transmission
should be long and devious (and acoustically lined). Typically trunk ducts run over corridors, with separate branch
ducts serving each room. Volume control dampers at the
terminals should be avoided; they are best located at
the branch duct takeoffs.
The mechanical equipment should be located far from
sensitive music rooms. It should be on grade, rather than
on rooftops or mezzanines, where adequate vibration isolation is much more difficult to achieve (see Figure 3-14).
C. Room Acoustics
The quality of sound within the room, assuming that extraneous sounds from other areas are eliminated or neutralized,
is the key factor in room acoustics. The room’s size and
shape and the acoustical properties of its finishes must be
manipulated to form the desired environment—a place
where sounds are heard by band-members and leaders as
distinct yet blended, strong yet not too loud, and of such
quality that the players enjoy the sound they make. Three
problems must be solved within the space: 1. the control of sheer loudness and reverberation; 2. clarity and
communication; and 3. avoidance of unwanted effects.
1. Loudness and Reverberation. * Loudness depends on
the sound energy emitted by the instruments, which only
the players can control, and on the acoustic absorptivity
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A corollary means of reducing loudness is to increase the
room size well beyond the minimum required to accommodate the occupants. This will create larger surfaces that
can be treated (more absorption) and make the sound
travel longer distances before being reflected back to the
musicians (weaker reflections). For economic reasons,
increased size is most often to be found in increased height.
Therefore, ample volume is recommended—ceiling
heights of 18 to 30 feet for Main Rehearsal, 15 to 20 feet
for Large Group Practice, and 12 to 15 for Small Group
Practice. Individual Practice Rooms need not be as high:
ten to twelve feet is suggested, but 8 or 9 feet is often
acceptable; and like the larger rooms, they should contain
liberal areas of absorptive finishes.
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of the room, which can be controlled by design. In essence,
every doubling of absorption reduces the sound level by
3 decibels, but also shortens the reverberation time* by a
factor of two. Since excessive loudness is a major problem in band practice and rehearsal rooms, liberal amounts
of absorptive treatments are recommended—most
typically, on the ceiling and the walls. The resultant (short)
reverberation times, implying “dead” acoustics, are far
preferable to a “live” but very loud sound. See Paragraph
5-4 for specifics on sound-absorbing materials.
2. Clarity and Communication. Abundant absorption,
as recommended for loudness and reverberation control,
automatically assures a fair degree of clarity. Sounds, once
made, stop quickly and do not compound into a state of
acoustic confusion. This helps the learning process for which
training facilities are built, but stands in contrast to concert halls (which are much larger) where reverberation is
an asset.
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In the Group Practice and smaller music rooms there is seldom any difficulty in the players hearing each other. The
spaces are still relatively small and sound is reflected from
player to player, even off the nominally absorptive surfaces
(no material is totally absorptive), However, intra-group
communication in the Main Rehearsal Room, where distances are greater and the sound of one’s own section tends
to dominate, is often lacking. The preferred solution is
to make the (high) ceiling partially reflective—to design a
pattern of reflective “islands” into an otherwise absorptive ceiling (see 4.2.F.2 for detailed requirements).
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3. Unwanted Effects. Adherence to the preceding
guidelines does not guarantee acoustical excellence, It
can be marred by one of several effects, the most common of which are: (a) discrete echoes off distant surfaces;
(b) flutter echo—a ringing sensation due to a pattern of
repetitive reflections along the same path; (c) focusing;
and (d) standing waves— a booming at specific, low
frequencies.
The preventive measures to deal with these unwanted effects
are, respectively: (a) absorptive finishes, especially on
distant walls, more than 30 feet from the sound source; (b)
*Reverberation time is defined as the time it takes for the sound
energy density to decrease to one-millionth of its initial value; in
other words, it is time during which, after the source has stopped,
the sound level decreases by 60 decibels.
3-14
Figure 3-15. Treatment of Echoes
avoidance of parallel, reflective surfaces; and splaying
or treatment of these surfaces with absorptive materials;
(c) avoidance of concave shapes including curved walls,
vaults, domes, etc.; (d) avoidance of principal room dimensions (length, width, height) that are equal to or multiples
of each other (see Figures 3-15 and 3-16). The last
problem — standing waves—hardly affects the Main
Rehearsal Room, whose inherently large dimensions are
unlikely to support standing waves within the frequency
range of interest.
In addition to the problems and solutions discussed above,
the design of any music room should be such as to encour-
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4270.1-M, TM 5-785, and TM 5-810-1. Specific requirements for band facilities include:
● Air conditioning should be provided for temperature and
humidity control on a year-round basis. Many of the
musical instruments are very expensive and highly sensitive to changes in humidity and temperature, and must
be protected.
● Mechanical systems must be designed to minimize noise
generation and transmission, and disruption of band practice activities. See Paragraph 5-3 for specific criteria
and practical approaches for acoustically acceptable
design of mechanical systems in relationship to music
spaces.
● Inside desiqn temperatures shall be as follows: Winter
inside design temperature is 68°F; fresh air will be limited
to 10 cfm per person, for energy conservation purposes.
Summer inside design temperature is limited to 78°F. Humidity levels shall remain within the range of 40% to 50%.
B. Plumbing. Plumbing, water supply and sewer systems
will be in accordance with TM 5-810-5 and 6, TM 5-814-1,
and DOD 4270.1-M. Conservation of water shall be a
consideration of prime importance in the design of the facility,
as discussed in DOD 4270.1-M.
C. Fire and Safety. General safety and fire protection
measures for the Band Training Facility will conform to DOD
4270-1.M, the requirements of the National Fire Protection Association (NFPA), and applicable sections of TM 5-8121 and TM 5-813-6.
Figure 3-16. Elimination of Flutter with a Splayed Wall
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age diffusion. For this, within the limits of practicality and
consistent with the previous recommendations, the suggested provisions are: irregular, non-rectangular room
shapes; small-scale splays and bumps on large, otherwise
plain surfaces (but still measuring feet, not inches, in width
and depth); and distribution of sound-absorbing finishes
throughout the room, rather than their concentration on
one or two surfaces.
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At least some of the sound-absorbing materials should
be furred-out or, in the case of ceilings, suspended. The
airspace thus created behind the material will help absorb
low-frequency sound and reduce boom. This must be taken
into account when determining finished room dimensions
and ceiling heights.
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For wall absorption in the larger music rooms, adjustable drapes on tracks are recommended. This would allow
refIective surfaces to be covered or uncovered to reduce
or increase “liveness”. Such flexibility is likely to be appreciated by bandmasters, to suit their personal preferences,
as well as by the various ensembles, to suit their musical
styles.
3-6 Environmental Systems
Design
The following environmental systems considerations apply
to all the spaces within the Band Training Facility.
A. Mechanical. Heating, ventilating and air conditioning
systems will conform to the applicable portions of DOD
Sprinkler systems and wet-type fire extinguishers are not
recommended, because they may cause damage to musical instruments, equipment, sheet music and other library
materials. Dry-type portable fire extinguishers should
be provided, particularly in locations adjacent to the
Library, Audio Control Booth, Individual Instrument Lockers,
and Unit Supply/Storage Area.
Smoke alarms should be provided in all areas. The fire alarm
system should provide flashing lights as well as audible
alarms in sound-isolated areas, including all rehearsal and
practice rooms. Location of detectors and alarms must
comply with NFPA 101, Section 7-6. The type of system
shall comply with Section 26-4.3.5.
D. Electrical and Lighting. Electrical design will conform
to DOD 4270.1-M and TM 5-811-1 through 4. Lighting levels will conform to IES standards and DOD 4270.1-M.
Systems characteristics will be selected to provide for the
most efficient and economical distribution of energy, in
accordance with DOD 4270.1-M.
Emergency power will conform to the requirements of
NFPA Standard NO. 101 for exit and emergency lighting
systems. Auxiliary power requirements for fire alarms,
exit lights and emergency lighting systems will be provided
in accordance with appropriate NFPA Standard.
● Convenience outlets shall be provided in all music practice areas in the following suggested quantities: Small
Individual Practice Rooms-2 duplex outlets; Large individual Practice Room-3 duplex outlets; Small Group Practice Rooms-6; Large Group Practice Room and Main
Rehearsal Room-8 on the walls and four evenly distributed on the floor.
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General Design Programming
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●
To preclude interruption of recording sessions in the Main
Rehearsal or Large Group Practice Rooms, install “on
air” warning lights above or beside room entrances.
E. Energy Conservation. Because of limited energy
resources, it is critical that the design of the Band Training Facility make every effort to minimize energy expenditure as discussed in DOD 4270.1-M. Although there are
no unique energy conservation requirements or considerations for this facility, all the approaches generally applicable should be considered in the design. These affect building
orientation, layout and enclosure, insulation and glazing,
mechanical and lighting systems. The exploitation of local
climate conditions, topography and landscaping may permit orientation and fenestration for direct gain solar exposure,
wind protection and wall shading. Compactness of layout
and differential treatment of the different facades of the building can be economical ways of making major energy conservation gains. Life-cycle costing of mechanical and
electrical systems in relationship to other building feature
options is also important for energy-efficient design.
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●
The Audio Control Booth will require a large number of
convenience outlets, at least 10. The power requirements
for this room should be coordinated with the specific
electronic equipment planned for it. See Chapter 4 for
additional requirements for individual spaces.
Proper lighting for the music practice areas is another
very important consideration. Long hours of concentrating on music sheets on stands while practicing can be
very fatiguing if the lighting is inappropriate. Harsh overhead light, glare off music sheets on stands, and shadows on the music sheets must be avoided. One
excellent way to illuminate practice areas is by indirect
fluorescent light bounced off of light-colored ceilings.
Illumination at the task should be 40 foot-candles
minimum.
Lighting and electrical systems must be designed to eliminate noise, specifically from music practice areas. This
includes air leaks at conduit penetrations, ballast hum,
and transformer vibration. See Subparagraph 5-2.F
for discussion of the acoustical issues which affect electrical and lighting systems design.
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●
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Space Criteria
Chapter 4:
Space Criteria
Contents
Using This Chapter
Main Rehearsal Room
Group Practice Rooms
Individual Practice Rooms
Recording/Audio Control Booth
Library
Offices
Individual Instrument Lockers/
Instrument Cleaning
Day Area
Toilets/Lockers/Showers
Unit Supply/Storage/Instrument Repair
Lobby and Circulation
Maintenance and Mechanical Spaces
Arms Room
Mail Room
Outdoor Spaces
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4-1
4-2
4-3
4-4
4-5
4-6
4-7
4-8
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4-9
4-10
4-11
4-12
4-13
4-14
4-15
4-16
page
4-1
4-2
4-4
4-5
4-8
4-9
4-9
4-10
4-14
4-14
4-16
4-17
4-19
4-19
4-19
4-20
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4-1 Using This Chapter
This chapter contains the detailed design criteria for all the
spaces included in the Band Training Facility. These provide the spatial descriptions and performance requirements
to meet the functional requirements discussed in Paragraph 2-3, Functional Program. For each individual space,
this chapter presents a use description, size requirements
and critical dimensions, spatial characteristics and organization, relationships, furnishing and equipment requirements (as essential to the built space design and functioning), and technical recommendations.
Equipment and Technical criteria are presented only
where requirements are special for band facilities, not where
common architectural practice for general-purpose structures is to be followed. Further details on acoustical design
criteria, particularly applicable to the music spaces, are
found in Paragraph 3-5 and Chapter 5. A summary list of
the spaces included and their recommended square foot
areas is found in Table 2-1.
These individual space criteria are to be used primarily
in the development of the Concept Design and Final Design
for the band facility by the contract architect/engineer.
They will also be useful to the Bands personnel, Facility
Engineers and District Engineers in setting the design
requirements for the architect to meet, and in reviewing the
design submissions for compliance.
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Space Criteria
March 1983
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Average ceiling height of 20’-30’ is recommended; 15’
is an absolute minimum. No musician should stand within
7-1/2" of the ceiling. (Heights of less than 18’ should
be considered only if a minimum volume of 600 cu. ft.
per musician is maintained.)
●
Avoid long, narrow rooms, since good visual communication with the director is impossible if the rooms are
either excessively wide or deep,
●
Minimum recommended dimension: at least 30 feet for
a 1,575 Net Square Feet (NSF) room, 40 feet for a 2,275
NSF room. (see Figures 4-1 A&B)
A. Use
(see also the Functions Program in Paragraph 2-3).
The Main Rehearsal Room must be large enough to
accommodate a full 45- or 65-person band, as
applicable, plus approximately five soloists performing with the ensemble. Space should be adequate for
alternative arrangements of musicians, for training
and for recording set-ups.
Occasionally used for small group practice, but mainly
for concert, marching band, stage band and chorus
rehearsals and full unit meetings.
Often accommodates large instruments (e.g., piano,
percussion), even when not being used. These must
be able to easily be moved out to other use spaces.
Bandmaster should have good visual communication with
all members of the group and be able to hear and identify problems of individual instrumentalists.
●
Large room volume is required to control loudness of
sound for good room acoustics. Design to accommodate the percussive and brass-heavy quality of the band,
so that the musicians can hear themselves and each
other (see Paragraph 3-5 on acoustical principles).
●
Enhance clarity of sound by minimizing reverberation time,
although not at the expense of room volume.
●
Splayed walls are beneficial for sound diffusion, although
parallel walls can be used, with appropriate treatment
of surfaces (see Chapter 5).
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B. Size and Critical Dimensions
C. Spatial Character and Organization
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4-2 Main Rehearsal Room
NSF for a 45-member band; 2,275 NSF for a
65-member band.
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● 1,575
Figure 4-1. Illustrative Main Rehearsal Rooms
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A. 45 person new construction example
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Light and spacious in character-windows for natural light
are advisable, although glazing must be carefully controlled to avoid glare and to be acoustically sound.
E. Furnishings and Equipment
●
D. Relationships
(see also Paragraph 3-4)
●
Particularly convenient to Unit Supply/Storage, Library
and Loading Dock.
●
Avoid adjacency with other music spaces—wherever
possible use storage (or other spaces in which sound
isolation is not critical) as a buffer.
●
●
Must be immediately adjacent to the Control Room, with
good eye-level view between the band-master and the
recording/audio control operator.
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●
Easily accessible from Main Entrance and Loading Dock,
since this is a high-volume traffic area.
●
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●
Permanent risers should not be used. Portable risers provide flexibility to accommodate marching bands, concert or show bands, and smaller groups, in different
configurations as required for different rehearsal and
recording activities. The average riser width should be
60” (48” is adequate for wind players); top riser should
be 120” wide. Risers should ascend in 6" to 8" steps,
and should be placed so the space in front of the room
is adequate for good sound mixing.
Large instrument storage may be useful in the Main
Rehearsal Room, but is inaccessible during rehearsals.
A podium should be provided; recommended 2 1/2' to 3’
square and 8' high.
Chairs should be non-folding.
Music stands: 45 for 45 person band; 65 for 65 person
band.
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●
Space Criteria
B. 65 person new construction example
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Space Criteria
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●
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Chalkboard, with chalk tray; 4’ x 8’ recommended.
Heavy curtains and tracks to permit acoustical variability (see 4-2.F.2).
Silent-type wall clock required.
●
●
●
F. Technical Recommendations
●
(see also Chapter 5).
1. Sound Isolation.
Glazing recommended in or adjacent to room doors, so
people outside can see in without disturbing activities in
session.
Flourescent lighting must have remote ballast.
Fire alarm system should have flashing light and alarm
in all music rooms.
If doors to outside are provided, they shall be equipped
with panic hardware.
● One set of double doors are required for movement of
Carefully locate (and limit) weak points in the acoustic
grand piano. See 5-2D for recommended configuration.
separation such as doors and windows.
● Use fully gasketed or proprietary acoustical doors (suggest
STC 40), or provide sound locks.
● Double glaze any interior windows (as those to the ConA. Use
trol Room); space the two panes several inches apart.
● Single story, slab-on-grade construction is the most eco- (see also Paragraph 2-3).
nomical way to provide sound isolation.
● One Large Group Practice Room must be large enough
● Heavy masonry wall construction is greatly preferable
to accommodate rehearsal and practice sessions of a
20-25 person Stage Band, or smaller groups or
to stud wall construction. Double wall, with cavity, recsections.
ommended between music spaces, if adjacent.
● Avoid the use of natural ventilation, since it precludes
● Small Group Practice Rooms should accommodate
groups of 8-12 people each.
sound isolation and the humidity control necessary to store
instruments properly.
● Access for large instruments must be provided to all of
● Acoustically lined sheet metal ducts for supply and return
the Group Practice Rooms. The rooms should be able
to accommodate a grand piano and possibly large perair, sized for adequately low velocity to achieve NC-25.
cussion instruments.
● Perfectly seal all joints and penetrations to make the room
virtually airtight. Even small leaks admit sound.
B. Size and Critical Dimensions
● Avoid rigid paths for sound transmission, such as electri- ●
Large Group Practice Rooms - 700 NSF.
cal conduit. Use non-metallic conduit at music room
walls. No outlets back-to-back. Where resiliently sepa- ● Small Group Practice Rooms - 300-350 NSF each.
rated double constructions are used, do not bridge them ● Average ceiling height of 18’ is recommended; 15’ is absowith rigid ties. Even minor ties, unless resilient, impair
lute minimum.
isolation.
● Length, width and height should not be equal to each
2. Room Acoustics.
—
other, nor should they be multiples of each other. Integral room dimensions - i.e. length:
Inadequate volume is a pervasive problem in rehearsal
width: height ratios of 1:1:1, 3:2:1, etc. - are conducive
rooms; see 4-2.B, Size and Critical Dimensions.
to a clustering of standing waves. Such rooms tend
Apply extensive amounts of sound absorbing material
to “sing” disturbingly in response to specific sounds that
that is effective over a wide frequency range, includmatch the pitch of the standing waves. This problem
ing the low frequencies (at and below 125 hz), Absorpis confined to smaller rooms, and is not a consideration
tive material should not be limited to the ceiling but
in the Main Rehearsal Room.
should be applied to the walls as well. Movable curtains ●
Large Group Practice Room proportions, in plan, should
afford acoustical variability. (See Paragraph 3-5 and
be elongated rather than roughly square, for rehearsal
Chapter 5 for details).
of Jazz Bands in straight-line rows. (see Figures 4-2
Make the ceiling partially reflective. Typically, use susA & B, and Figures 4-3 A & B)
pended acoustic tile, but over approximately one-half of
the ceiling area, centered in the room, make a 50-50
C. Spatial Character and Organization.
checkerboard (minimum 4’ x 4’ modules) of hard and
absorptive materials. For example, insert gypsum board ● Large room volume is required to control loudness of
sound, for good room acoustics and to protect personin the ceiling grid. Note that this will limit the hard areas
nel from hearing damage (see Paragraph 3-5).
to approximately one-quarter of the ceiling area.
● Splayed walls are beneficial for sound diffusion, espeOther.
cially in the Large Group Practice Room. Parallel walls
● Avoid carpet in the rehearsal room – it has little acoustic
can be used, with appropriate surface treatments (see
Chapter 5).
effect and may be a maintenance problem (hardsurfaced floors are generally preferred).
● Windows for natural light are desirable, although glaz● Lockable doors required, with good-quality hardware, for
ing should be used with care to avoid glare and to be
acoustically sound.
security of expensive instruments.
●
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4-3 Group Practice Rooms
4-4
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
●
●
Preferably not adjacent to Main Rehearsal Room or other
Group or Individual Practice Rooms. Definitely no direct
door into another music room.
Convenient to Main Rehearsal Room, Unit Supply/
Storage, and Loading Dock in order to facilitate movement of heavy instruments.
Large Group Practice Room should be adjacent to the
Control Room, if possible, with eye-level view between
bandmaster and recording/audio control operator.
Preferable directly accessible from Lobby.
Instrument Locker area should be easily accessible.
Practice room door should never open onto the rehearsal
room.
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March 1983
●
●
●
●
●
Heavy curtains on suitable track for acoustical variability (see 4-2.F.2).
Silent-type wall clock required,
F. Technical Recommendations
All of the technical issues in 4-2.F, for Main Rehearsal
Rooms, apply to the Group Practice Rooms, with the following modifications:
● Design the ventilation system for a maximum background
noise level of NC-30.
● Partial reflectivity of the ceiling may be unnecessary.
4-4 Individual Practice Rooms
A. Use
(see also Paragraph 2-3).
● Individual Practice Rooms accommodate between 1 and
E. Furnishings and Equipment.
4 people, practicing the full range of instruments in the
band. Sizes of rooms should vary to meet the range—
● Group practice Rooms should include space for a studiomost for 1-2 people, some for 3-4.
size piano.
●
Individual Practice Room should accommodate an upright
● Provide chairs and music stands for numbers of musipiano,
in addition to personnel.
cians to be accommodated.
●
Access for large instruments should be possible.
● Chalkboard, with chalk tray; 4’ x 4’ recommended.
4-5
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
March 1983
B. Size and Critical Dimensions
●
●
●
Large Individual Practice Rooms (for 3-4 people)-80125 NSF, each.
Small Individual Practice Rooms (for 1-2 people)-5565 NSF, each.
●
●
●
For 45 person bands, provide a total of 8-10 individual
Practice Rooms, 2-4 Large and 6-8 Small.
For 65 person bands, provide a total of 12-15 Individual
Practice Rooms, 3-6 Large and 9-12 Small.
Minimum recommended dimension: at least 8 feet for
Large; 6 feet for Small.
Length, width and height should not be equal to or integral multiples of each other, to avoid standing waves,
as discussed in 4-3.B. (see Figures 4-4 A, B & C)
C. Spatial Character and Organization
Either splayed wails or rectangular shape can be used,
with appropriate surface treatments (see Chapter 5).
● A window for natural light is desirable, although glazing
should be used with care to avoid glare and noise from
outside.
● Should not feel cramped; this can make it psychologically difficult to play with force.
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●
D. Relationships
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(see also Paragraph 3-4).
Particularly convenient to Individual Instruments Lockers.
● Locate within “private” zone of building, away from Lobby
and public view.
● Preferably not adjacent to the larger music rooms
(adjacency to other Individual Practice Rooms is
acceptable).
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●
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Figure 4-3. Illustrative Small Group Practice Rooms
A. 45 person new construction example
B. 65 person new construction example
4-6
Figure 4-4. Illustrative Individual Practice Rooms
A. 45 person new construction example
Design Guide: Band Training Facilities
DG-1110-3-119
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B. 65 person new construction example
Individual Practice Rooms should accommodate an upright
piano, in addition to personnel.
● Provide at least one chair and music stand in Small
Individual Practice Rooms, and three in Large.
● Silent-type wall clock required.
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●
F. Technical Recommendations
All of the technical recommendations in 4-2.F, for Main
Rehearsal Rooms, apply to Individual Practice Rooms,
with the following modifications:
● Use fully gasketed doors, or proprietary acoustical doors
rated STC 35.
Small interior windows or viewing ports (up to 1 sq. ft.)
need not be double-glazed.
● Double masonry walls between adjacent practice rooms
may be prohibitively expensive. See 5-2.A for alternatives.
noise level of NC-35.
C. 45 person renovation example
4-7
DG-1110-3-119
——
March 1983
Design Guide: Band Training Facilities
Space Criteria
●
●
●
●
●
Do not provide curtains; use fixed sound-absorbing treatments only.
Make the ceiling wholly absorptive.
Fluorescent ballasts need not be remote, but should be
A-rated for least noise.
Consider the use of prefabricated sound modules, of various sizes, particularly in renovation projects. These are
fully self-contained, acoustically isolated practice
spaces, with integral lighting and mechanical systems,
provided by various manufacturers. This approach
insures flexibility and quality control in construction.
Single doors are adequate for Individual Practice Rooms.
ED
4-5 Recording/
Audio Control Booth
A. Use
(see also Paragraph 2-3).
TO make recordings of the full band or ensembles, mainly
for internal use (instruction or other Army activities)
and for promotion or recruiting purposes.
● Not a professional-quality studio.
● Most recordings are taped; although records are also
sometimes cut.
● Should have a normal playback capability.
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Figure 4-5. Illustrative Recording/Audio Control Booth
● Continuous
B. Size and Critical Dimensions
250 NSF for both 45 and 65 person bands.
● Minimum width: 9 feet. (see Figure 4-5)
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●
C. Spatial Character and Organization
Should be laid out to accommodate equipment and work
space on both sides of an aisle, for recording operations facing into both of the adjacent music spaces.
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●
D. Relationships
(see also Paragraph 3-4).
Adjacent to Main Rehearsal Room and, preferably, Large
Group Practice Room.
● Provide window for good, eye-level visual access between
the control room operator and bandmaster in each of the
music rooms.
● Provide electronic verbal communication with the music
rooms.
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●
E. Furnishings and Equipment
●
●
work surface counter along both walls adjacent to music rooms.
● 2 chairs, minimum.
● Tape and equipment storage.
● Silent-type wall clock.
● Fire extinguishers suitable to deal with the high voltage
electrical service and multiple outlets installed in the room.
8-16 track control/mixing board.
Amplifiers.
●
2 tape decks.
●
2-3 pairs of speakers.
● Videotape
4-8
equipment.
F. Technical Recommendations
(see also Chapter 5).
Superior isolation required between the Control Room
and the adjoining rooms. Most of the technical recommendations in 4-2.F.1 apply.
● For room acoustics, provide an absorptive ceiling and
also treat any major wall areas (above desk height)
that are not covered up by equipment.
● The room should be adequately ventilated, but noise levels should not exceed NC-25.
● Provide separate zone in heating and cooling system,
to deal with high heat production of recording equipment.
● Lockable doors required, with good quality hardware, for
security for expensive equipment.
● Extensive electrical outlets must be provided and conveniently located along walls for the current and potential
future electronic equipment (see 3-6.D).
● Flourescent lighting must have remote ballast.
● Fire alarm system should have flashing light and alarm
in Control Room.
●
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
March 1983
C. Spatial Character and Organization.
●
A. Use
(see also Paragraph 2-3).
Primarily a storage and retrieval area for multiple copies of concert-size and marching band-size music; also
for reference books and training materials, and phonograph records.
Used for layout, distribution and collection of music for
performances, rehearsals, group and individual practice.
Used for sorting, cataloging and maintenance of music,
as well as music arrangement and copying.
Provides work space needed for library administration.
B. Size and Critical Dimensions
●
D. Relationships
(see also Paragraph 3-4)
● Central location to all activity-areas of the band facility.
● Particularly proximate to Main Rehearsal and Group Practice Rooms, for convenient music distribution.
● Glazed connection to Lobby, if possible, for views for band
personnel and visitors.
E. Furnishings and Equipment
●
●
24 legal-size file cabinets (for band and orchestra scores)
for 45 person band; 35 file cabinets for 65 person band.
Two to three electronic file systems may be used instead
of file cabinets for storage of scores.
25-30 lineal feet of bookshelf for closed cabinet storage
for 45 person band; 35-40 lineal feet for 65 person
band.
Several sorting racks with 5 or 6 slanted shelves each.
Rolling racks or wall slots for distribution of sheet music
to band personnel.
Tables or other work surface, for music layout and
organization.
4 work stations with desks.
Copying machine.
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500 NSF for a 45 person band; 640 NSF for a 65 person band.
Minimum dimensions should be least 15’, for work space
and storage on both sides with a generous aisle space.
(see Figure 4-6)
A well-lighted storage area, preferably with some natural light available at the work stations (or desks) for
the library administration and arrangers/copiers.
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4-6 Library
●
●
●
●
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4-7 Offices
A. Use
(see also Paragraph 2-3)
Provides offices for the administrative activities of the
Bandmaster (Commander), Associate Bandmaster (for
65-member band only), Enlisted Bandleader, and
Non-Commissioned Officers/Performance Group Leaders.
● A general office area provides work stations and storage for general administrative activities, including
operations, scheduling and transportation, training,
personnel, re-enlistment, information, clerical, etc.
● The Charge-of-Quarters desk, opening directly onto the
Lobby, accommodates reception and control functions
for the Main Entrance and whole facility.
●
B. Size and Critical Dimensions
Figure 4-6. Illustrative Library Plan
For a 45 person band: Commander—200 NSF; Enlisted
Bandleader—150 NSF; NCO/Performance Group
Leaders—210 NSF; Administration and Operations/
Transportation—425 NSF.
For a 65 person band; Commander—200 NSF; Associate Commander—150 NSF; Enlisted Bandleader—150
NSF; NCO/Performance Group Leaders—280 NSF;
Administration and Operations/Transportation—575 NSF.
(see Figures 4-7 A & B)
4-9
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
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March 1983
Figure 4-7. Illustrative Offices Plans
A. 45 person new construction example
C. Spatial Character and Organization
E.
●
●
●
●
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Offices and administrative spaces should be pleasant and
quiet, with an attractive outlook and plenty of natural light.
Officer, NCO and Band-leader spaces should each be
separate, closeable office rooms. Access to them should
be after passage through the General Administrative
area.
General Administration Office should be distinctly subdivided into two areas, for Administration and for Operations/Transportation.
CQ desk should be effectively in both the Administrative Office area and the Lobby space.
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D. Relationships
(see also Paragraph 3-4)
Administrative area should have direct access from the
Main entrance, without going through the “private” zone
of the facility.
● Offices should be shielded form the noisy “private” band
personnel spaces, especially Individual Instrument Lockers and Day Area, and the sound-producing music rooms.
This can be achieved by non-adjacency and/or completely enclosing partitions of a suitably high STC rating.
● CQ desk must have direct overview of the Main Entrance,
Lobby, Individual Instrument Lockers and Day Area. Overview of the service entrance and doors to Unit
Supply/Storage and Main Rehearsal Room is also
recommended.
●
4-10
●
●
●
●
Furnishings and Equipment
Commander, Associate Commander and Enlisted
Bandleader Offices should be equipped with a desk, chair
and storage areas.
NCO/Performance Group Leaders should have 3 deskspaces for a 45 person band; 4 for a 65 person band.
Administration and Operations/Transportation Offices
should have 4 desk-spaces for a 45 person band; 6
for a 65 person band. Workspaces should be partitioned
or partially partitioned for privacy.
CQ desk built-in to counter between Lobby and Administrative Office, with window opening and roll-up security
grille.
Bulletin board for band information and internal communications. Separate bulletin boards for each individual performance group are desirable.
4-8 Individual Instrument
Lockers/Instrument Cleaning
A. Instrument Storage Requirements
-General
Instrument storage requirements will vary for each band,
depending on the individual commander’s preferences
regarding how many instruments are issued to the musicians,
versus how many are kept in the central storage area
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
1 bassoon
2 oboes
14 clarinets
8 saxophones
6 snare drums
1 accordion
2 guitars
See the balance of this Paragraph 4-8, for storage space
requirements for these instruments.
2. Non-Issued Instruments. Instruments kept in the
Storage room until required generally include duplicates
for bad-weather use, or large instruments, or those for very
occasional use by other than the marching band:
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9 trumpets
1 euphonium
1 french horn
4 trombones
1 tuba
3 bass viols
2 flutes
2 piccolos
1 bassoon
1 english horn
16 clarinets
5 saxophones
1 electric piano
5 snare drums
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See Paragraph 4-11 for storage space requirements for
these instruments.
3. Stationary Instruments. Instruments which are generally left locked in the Main Rehearsal and Practice Rooms
because of their large size, but which may at times be kept
in Storage, include:
upright pianos
grand piano
4 sousaphones/tubas
4 tympani
vibes
xylophone
6 drums, of various sizes
Smaller percussion instruments (gourds, gongs, congas,
marimba, etc.) can be stored in a large cabinet on wheels,
and either rolled into the Storage area or left locked in
the Main Rehearsal Room.
B. Use
Space use for Individual Instrument Locker/Instrument Cleaning (see also Paragraph 2-3):
●
●
Storage of issued instruments in individual lockers appropriate to the size of the instrument issued.
Cleaning of instruments by band personnel themselves.
C. Size and Critical Dimensions
● Individual
Instrument Lockers: 520 NSF for a 45-member band; 680 NSF for a 65-member band.
● Instrument Cleaning area: 75 NSF for either size band.
4-11
DG-1110-3-119
Design Guide: Band Training Facilities
Space Criteria
Lineal feet of individual lockers: for a 45 person band approx. 64 ft. x 28 in. deep x 4 ft. high; for a 65 person band - approx. 92 ft. x 28 in. deep x 4 ft. high. Some
of these may be stacked on top of each other, reducing the total lineal feet on the floor. See F. Furnishings
and Equipment, below, for illustrative storage module
system for these lockers.
Instrument Cleaning requires at least 10 lineal feet of
2-foot-wide counter space. (see Figure 4-8)
D. Spatial Character and Organization
●
●
(see also Paragraph 3-4)
● Individual Instrument Lockers should be centrally located
and conveniently accessible to all rehearsal and practice rooms, and building entrances, but particularly close
to the Individual Practice Rooms, Toilets/Lockers/
Showers, and Day Area, as discussed in 3-4.C.1.
●
This space must be visible from the CQ; therefore, it
must be directly off the Lobby.
●
Individual Instrument Lockers are part of the “private”
zone of the facility (see 3-4. B). They should be shielded
from visitors’ and outsiders’ views, to maintain as much
of a sense of privacy as possible, within the constraints
of the need for CQ visibility, above.
●
Instrument Cleaning should be adjacent to or within the
Individual Instrument Locker area.
F.
●
Furnishings and Equipment
Supply built-in or modular units, for issued instrument
storage, that are well ventilated, secure cabinets of
wood or metal.
Individual Instrument Storage Lockers for the instruments for a 45 person band (see Subparagraph 4-8.A,
above), can be provided by approximately 16 standard 4-foot-square by 28-inch-deep modular cabinets.
These standard, prefabricated modules are divided
into compartments of different sizes, available in many
combinations, designed to accommodate the full range
of band instruments. Table 4-1 shows a typical array _
of the numbers of compartments of the different sizes
which can accommodate a 45 person band’s instruments.
This array of compartments would require 16 modules
to provide the numbers of each indicated. Figure 4-9
illustrates a section of this storage array, with instrument locations indicated. This array is illustrative only,
and may vary for each band.
A surface for setting down instruments while removing
them from their cases must be provided near the lockers.
If lockers are stacked double-height, counters or table
should be provided. If lockers are single-height, their
tops can be used for this purpose. This resting surface should be carpeted or padded and fabric-covered
to protect instruments.
Instrument Cleaning area requires a deep, stainless steel
laundry-type sink for washing instruments, with counter
space on either side for laying-out and cleaning, drying
and polishing parts.
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The Individual Instrument Locker area must provide
convenient access to all lockers and adequate space
to open lockers and instrument cases and set down
instruments, either on top of the 4-foot-high lockers
or on tables provided.
The locker room can also serve as part of the circulation system to the related “private” areas.
Instrument Cleaning should be a part of or a close
adjunct off the individual Instrument Locker area.
E. Relationships
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●
March 1983
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●
●
●
G. Technical Recommendations
●
●
●
Figure 4-8. Illustrative Individual Instrument Locker Area.
4-12
Individual Instrument Storage must be well-ventilated,
tive humidity of 35-40%,
Individual Instrument Lockers must be lockable with
secure hardware, with individual keys or combinations.
Instrument Cleaning area must have water resistent, easily cleaned surface materials, such as ceramic floor tile
and epoxy-painted wall finish.
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
March 1983
Table 4-1 Typical Modular Instrument Storage System for 45-Person Band
Compartment
Type
Compartment
Dimensions
Number
Required
Instruments
Accommodated
A.
B.
c.
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E.
F.
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4-13
DG-1110-3-119
Design Guide: Band Training Facilities
Space Criteria
4-9 Day Area
A. Use
(see also Paragraph 2-3)
Used during breaks in the practice schedule as a place
to gather, relax, play pool or ping pong, have snacks
and drinks.
● May be used by only a few people or by a large part of
the group at one time.
●
B. Size and Critical Dimensions
640 NSF for a 45 person band; 860 NSF for a 65
person band. (see Figure 4-10)
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●
C. Spatial Character and Organization
●
●
Should have plenty of daylight and a pleasant outlook.
Should be comfortable, relaxing environment; removed
from music practice “work” atmosphere.
Should, if possible, be subdivided into two sub-areas:
one more quiet, for lounging and reading; the other
for noisier activities and games.
D. Relationships
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(see also Paragraph 3-4)
●
Easily accessible from Individual Instrument Lockers
and Toilets/Lockers/Showers.
● In “private” zone of facility, shielded from visitor intrusion.
● Visible, in part, from CQ desk, including the door to the
Patio.
● Direct access to Outdoor Terrace or Patio, for recreation and relaxation.
●
●
●
Furnished with comfortable chairs, coffee tables,
games tables, and chairs, pool table and/or ping pong
table, magazine rack.
Tackboard for announcements, communication; 4’x4’
recommended.
Vending machines.
Kitchenette, with counter, sink, small refrigerator, coffee machine, storage, etc., within or adjoining the Day
Area, if possible.
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E. Furnishings and Equipment
4-10 Toilets/Lockers/Showers
A. Use
(see also Paragraph 2-3)
●
Showering and changing uniforms before, after and,
sometimes, in-between performances and rehearsals.
●
Toilets used by all band personnel, including those in
administration, plus visitors.
4-14
Figure 4-10. Illustrative Day Area Plan
Individual uniform storage.
● Uniform pressing, by band personnel themselves.
●
B. Size and Critical Dimensions
●
For a 45 person band, Men’s dressing area, with at least
40 lockers, 4 toilets, 4 lavatories, 2 urinals, 4 showers and 2 uniform presses - 880 NSF.
For a 45 person band, Women’s dressing area, with at
least 10 lockers, 2 toilets, 2 lavatories, 2 showers and
1 uniform press - 450 NSF.
For a 65 person band, Men’s dressing area, with at least
58 lockers, 5 toilets, 5 lavatories, 3 urinals, 5 showers and 2 uniform presses - 1200 NSF.
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
March 1983
●
For a 65 person band, Women’s dressing area with at
C.
in-order to provide space for dressing and an aisle.
(see also Paragraph 3-4)
. Toilet/Lockers/Shower area should be most closely
associated with Individual Instrument Lockers, for
Spatial Character and Organization
●
●
●
Uniform pressing machines require a clear space 6’x6’
each. (see Figure 4-11)
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Figure 4-11. Illustrative Toilet/Lockers/Shower Plan
4-15
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Space Criteria
Table 4-2 Recommended Toilet/Shower Fixture Counts*
45 person
Women
Men
Women
4
4
2
4
2
2
5
5
3
5
2
2
2
* These recommended numbers are based on an 80/20
male/female ratio. Different ratios require proportionately different numbers of fixtures. However, in no case should there be
fewer than 2 of each appropriate fixture for the use of either sex.
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Water Closets
Lavatories
Urinals
Showers
65 person
Men
4-11 Unit Supply/Storage/
Instrument Repair
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convenient preparation for and changing between
performance commitments.
●
Access to toilet area from “public” zone of the facility,
without passage through Individual Instrument Lockers
A. Use
/Day Area, would be desirable.
● Closeness to Instrument Cleaning and to janitor’s closet
(see also Paragraphs
2-3 and 4-8.A)
- .
is recommended, for plumbing efficiency.
●
Storage of non-issued instruments, uniforms, instrument
cases, expendable band supplies and musical instruE. Furnishings and Equipment
ment repair parts, lighting and electronic equipment,
amplification and recording equipment, music stands,
See Table 4-2 for recommended fixture counts for difpossibly portable podium and risers, hand trucks, genferent facility sizes.
eral and office supplies, and possibly linens, weapons,
Table 4-2 Recommended Toilet/Shower Fixture Counts.
and some personal property.
At least one toilet, for use by each sex, must be equipped ● Issue desk for distribution and receipt of supplies and
for use by the physically handicapped, as indicated in
equipment.
EM 1110-1-103.
●
Space for collection and distribution for uniform cleaning.
One locker for each musician must be provided, large ●
Administrative activities of the band’s Unit Supply
enough for 3-4 uniforms at one time. To allow for some
program.
shifts in male/female ratio, 45 person facility should
Repair and maintenance of instruments.
have at least 40 men’s and 10 women’s lockers, and
●
65 person should have at least 58 men’s and 14
B. Sizes and Critical Dimensions
women’s lockers, Lockers should be full height,
lockable, with louvered doors.
Unit Supply and Storage: for a 45 person band - 1,000
Dressing area should be equipped with mirrors and
NSF; for a 65 person band - 1,300 NSF.
benches for changing (benches, if covered with resilInstrument Repair - 100 NSF, in addition to Unit Supient material, may also serve as a good place to tempoply and Storage area.
rarily rest instruments).
Smallest dimension in Storage area should be no less
Provide 2 uniform presses in or near men’s dressing
than 16 feet, to facilitate movement of large instruareas, 1 uniform press for women’s.
ments and equipment. (see Figure 4-12)
F. Technical Recommendations
●
●
●
Plumbing layout and design must be in accordance with
TM 5-810-5.
Skylights or clerestories may be used over dressing
Iocker areas for natural light; single skydomes recommended.
Clothing presses require high-pressure steam supply.
4-16
C. Spatial Character and Organization
●
●
Unit Supply area should be an uncluttered, well-lighted
space, with some natural light available at the work
stations and desks, and with well-organized specialized storage.
—
Instrument Repair should be a separate space, securely
lockable so equipment and parts may be left out on
DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Space Criteria
room must be provided in circulation in front of issue
desk for a large group waiting for supplies.
E. Furnishings and Equipment
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Storage area should be equipped with special shelving or compartments to store non-issued instruments
and equipment, appropriate to the space requirements
of each. Will vary with each band’s operations. Consider standard, adjustable shelving system, for changing contents. Padded shelves recommended for
instrument storage.
Unit Supply area should have 2 work stations with desks
for a 45 person band; 3 work stations with desks for
a 65 person band.
Uniform racks should be in a dust-free area and high
enough to keep uniforms from touching the ground. Provide a movable 8’ rack for a 45 person band, and a
12’ rack for a 65 person band.
Issue desk minimum 4’ long and securely closeable, with
lockable metal roll-up security door.
Instrument Repair must have a continuous work surface,
minimum 12’ long and 2’ deep, including a deep, laundrytype sink, large enough to handle large brass
instruments, a gas burner for repair of brass instruments, and space for storage of tools.
F. Technical Recommendations
●
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Figure 4-12. Illustrative Unit Supply/Storage/Instrument
Repair Plan
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work area, but visually open to Unit Supply to avoid small,
enclosed spatial feeling.
Storage area should be a large space, designed for easy
equipment movement. Shelving arrangements will vary
with each band’s storage items and operations requirements, Separate small areas for specialized storage or
special levels of security may be required.
Separations between Unit Supply, Storage and Instrument Repair should provide secure closure, but convenient access for movement of required equipment and
supplies between the spaces.
D. Relationships
(see also Paragraph 3-4).
Particularly close to Main Rehearsal and Group Practice Rooms, for ease of large equipment movement.
Adjacent to Loading Dock, with access that is direct and
without steps.
Doors/access to Storage and Unit Supply should be visible from CQ desk, for security.
Unit Supply issue desk should be easily accessible from
all parts of the facility, for all band personnel. Ample
●
●
●
Storage and Unit Supply must be secure, with lockable metal doors at all accesses.
Double Doors required for movement of large instruments and equipment from Storage to Unit Supply and
to circulation to other parts of facility.
Divisions between Unit Supply, Storage and Repair areas
should be wire mesh. This provides security by both
denying access, and allowing Unit Supply personnel to
observe the whole area. Concrete masonry units or
other solid wall material may be used, if other factors
(structure, etc.) dictate.
If windows are provided in these spaces, they must be
wire-glass or otherwise designed for high security.
Instrument Storage and uniform storage must be wellventilated and humidity controlled, with year-round
4-12 Lobby and Circulation
A. Use
(see also Paragraph 2-3)
Main Entrance and Lobby should allow musicians and
visitors to check-in with CQ, orient themselves and
move easily to lockers and storage areas, practice/
rehearsal spaces, or administrative areas. It must
accommodate large numbers of band personnel
simultaneously, moving in and out of adjacent
rehearsal and storage spaces, and waiting for successive events.
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March 1983
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Space Criteria
Figure 4-13.
●
●
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Circulation should provide reasonably direct, comprehensible access to all parts of facility, without intruding upon function-spaces. It should help to keep separate
the “public” and “private” zones of the facility (see
3-4.B). It must accommodate movement of large instruments and equipment throughout the facility.
B.
●
Size and Critical Dimensions
Lobby: 600 NSF for a 45 person band; 900 NSF for a
65 person band.
Circulation area, together with walls and other nonallocated spaces, should be about 25% of the Net
Square Footage of the building.
Circulation to and from Loading Dock, Unit Supply/
Storage, Main Rehearsal and all Practice Rooms should
accommodate large instruments and equipment.
Dimensions at corners and turns into entrance doors
should be checked against largest instrument
dimensions. Minimum corridor width: 7’-0” at major music
and storage spaces; 4’-0” at Individual Practice
Rooms. (see Figures 4-13 A & B)
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●
●
D. Relationships
(see also Paragraph 3-4).
Lobby and layout of circulation should permit direct observation of Main Rehearsal, Group Practice and Library
spaces upon entry.
●
Main Entrance and Lobby layout must permit access
and overview relationships for CQ desk and administrative offices, as described in 4-7.D.
●
E. Furnishings and Equipment
●
Co Spatial Character and Organization
●
Lobby should be an attractive, open area that overlooks the main functions of the building. Natural light,
perhaps through use of skylights or clerestories, is
4-18
recommended.
Circulation should vary in dimension and character as
appropriate to adjacent function-spaces and movement
requirements. Circulation should not consist of straight,
uniform corridors.
All circulation must be without steps and preferably at
a single level, without ramps, for ease of equipment
movement.
●
●
Lobby should provide limited lounge seating, for use by
visitors and sometimes by band-members between
rehearsals and/or performances.
Trophy and memorabilia display case, in lobby.
Tackboard for information display, possibly in Lobby near—
CQ desk.
Design Guide: Band Training Facilities
DG-1110-3-119
Space Criteria
March 1983
●
●
Mechanical space must be accessible from outside the
building only, for use by the Facility Engineers.
Mechanical spaces should not be adjacent to any music
practice or rehearsal rooms. If this is unavoidable, ducts
must not pass directly into such rooms.
D. Furnishings and Equipment
●
Deep laundry-type sink in janitor’s closet for building
cleaning and maintenance.
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4-14 Arms Room
(Optional Function)
A. Use.
●
Storage of weapons for use by the band unit. This is
an optional function, not necessarily included in the
Band Training Facility.
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B. Size and Technical Recommendations
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●
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Not part of typical band facility space program; if included,
this requires additional square footage.
Space requirement, approximately 40 NSF for a 45 person band, 50 NSF for a 65 person band; see AR 190-11
for specific requirements.
Special security requirements apply to design of this
space; see AR 190-11.
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C. Relationships
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B. 65 person new construction example
4-13 Maintenance and
Mechanical Spaces
A. Use.
Storage for building cleaning supplies and support for
janitorial services.
Equipment for mechanical, plumbing and electrical
systems.
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●
●
B. Size and Critical Dimensions
●
●
Janitor’s Closet: 50 NSF.
Mechanical Space: typically 5% of overall building area.
C. Relationships
●
Janitor’s closet should be reasonably convenient to
all parts of the building for ease of maintenance
operations. Closeness to toilet area is recommended for plumbing economy.
●
●
Should be included as part of Storage or Unit Supply
area as a separate, secure enclosed space.
Access is limited under special security requirements.
4-15 Mail Room
(Optional Function)
A. Use.
●
Sorting and distribution of mail for band personnel.
This is an optional function, not necessarily included
in the Band Training Facility.
B. Size and Technical Recommendations
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●
●
●
Not part of typical band facility space program; if
included, this requires additional square footage.
Individual mail boxes for each person must be provided,
plus adequate counter-space for sorting and loading in
the mail boxes.
Space requirement, approximately 30 NSF for a 45 person band, 35 NSF for a 65 person band.
Special security requirements apply to design of this
space; see United States Postal Service Publication
17.
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Space Criteria
March 1983
C. Relationships
●
●
Should either be included in administrative area, with
mail boxes accessible to band personnel, or in
“private” zone of facility, with Individual Instrument
Lockers.
Access to the Mail Room is limited to mail service personnel only.
4-16 Outdoor Spaces
A. Use
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(see also Paragraph 2-3).
● Outdoor rehearsal, marching practice, ceremonial drill.
● Outdoor performances.
● Parking for all band personnel, plus visitors.
● Delivery, loading and unloading of equipment, instruments and supplies.
● Loading and unloading of personnel from buses and
other vehicles.
● Outdoor recreation and relaxation for band personnel
in break times.
B. Size and Critical Dimensions
●
●
●
●
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Drill Area -30,000SF; recommended dimensions,
approximately 100’x300’.
Parking Area: 13,500 SF (45 spaces) for 45 person band;
19,500 SF (65 spaces) for 65 person band. See TM 5822-3 for specific criteria.
Loading Dock/Outdoor Performance Area - 300 SF minimum for loading function; recommended area for combined performance stage and loading (optional): 1,100
SF for 45 person, 1,500 SF for 65 person.
Loading Dock should have 2’-6” high concrete pad, for
truck loading, with ramp and stair access.
Loading Dock door should be at least 6’-8” feet wide
by 8 feet high.
Patio outside Day Area -600 SF recommended minimum paved area.
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●
●
●
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C. Spatial Character and Organization
●
●
formance “stage”, for audience area and to provide
enclosure to the performance space. Earth berms may
be used to form a grassy slope for an audience, if natural topography does not provide the opportunity. (see
Figure 4-14)
The Entry Court should be an evidently defined space,
shaped by the building forms and angles, landscaping
and paving, to provide a sense of arrival in front of
the Main Entrance. It should provide seating and views
of key building areas. It should connect to access from
the parking and drop-off areas. (see Figure 4-15)
The Patio should be a paved area, defined by the building walls and angles and landscaping at its edges. If
possible, it should be placed at an interior angle or
indentation of the building, for added space definition
and relationship to the facility. It should provide seating,
sunny and shady areas, and attractive views. (see
Figure 4-16)
See Paragraph 3-2, Site Design, and applicable portions of DOD 4270.1-M, TM 5-803-5, TM 5-811-1 and
TM 5-822-2 for spatial design issues for outdoor spaces.
Loading Dock/Performance Area, if provided, should be D. Relationships
placed against the building, preferably in an interior
(see also Paragraph 3-4)
corner, so the walls serve as a backdrop and sound
reflector for the performances. The ground around the
●
Existing parade ground can serve the purpose of the
Drill Area if the band facility is sited nearby.
paved service yard should rise up away from the per-
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Design Guide: Band Training Facilities
Space Criteria
●
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Drill area should be convenient to the Band Training
Facility, particularly to the service door/loading dock.
It should not interfere with nearby quiet functions such
as living quarters or offices. Drill Area should not be
bounded by parallel walls or buildings, to avoid echoes
and flutter.
Vehicular Access paths to parking area, service/loading
and drop-off at Main Entrance should be separate, if
possible. Mechanical space may share access with service or parking area.
Drop-off area should be as close as possible to entry
court and Main Entrance.
Loading Dock should be adjacent to Unit Storage/Supply
and Main Rehearsal Room.
If the Loading Dock is also used as a Performance Area,
it should be shielded from traffic noise, but preferably visible to passers-by.
Patio should be adjacent to and directly accessible from
Day Area.
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March 1983
E. Furnishings and Equipment
●
●
Built-in outdoor seating should be provided in Entry Court
and Patio.
Portable acoustic shells may be required if the Loading Dock/Performance “stage” cannot be so designed
as to utilize the building’s walls for reflection.
Figure 4-16. Illustrative Patio
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Design Guide: Band Training Facilities
Practical Approaches for Accoustic Construction
March 1983
Chapter 5:
Practical
Approaches For
Acoustic Construction
Contents
page
5-1
5-2
5-1
5-1
5-2
5-9
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Using this Chapter
Sound Isolation
A. Individual Practice Rooms
B. Small Group Practice Rooms
C. Main Rehearsal Room, Large
Group Practice Room and
Control/Recording Booth
D. Doors
E. Windows
F. Lighting and Electrical Systems
5-3
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5-4
5-12
5-14
5-19
5-20
Noise Control and Mechanical
Systems
5-20
Room Acoustics
A. Absorptive Finishes
B. Room Shape
C. Main Rehearsal Room
D. Group Practice Rooms
E. Individual Practice Rooms
5-22
5-22
5-24
5-24
5-25
5-25
5-1 Using This Chapter
This chapter contains discussions and illustrations of practical construction methods and typical details for achieving sound isolation, noise control, and good room acoustics.
The principles behind these techniques have been discussed in Paragraph 3-5, Acoustical Considerations. The
examples presented are not solutions to all problems,
but aids to understanding how to apply the principles to
achieve a Band Practice Facility that performs successfully. The illustrated methods should be useful to architects in developing Final Designs for band facilities, and
to band personnel and Facility Engineers doing minor
renovations and improvements to existing facilities.
5-2 Sound Isolation
Isolation depends on the design and execution of all barriers that separate one room from another. That includes
floors, roofs and ceilings, walls, as well as door and window assemblies. Balanced performance is the goal. If a portion of a barrier is weaker than the remainder (for example,
an STC 35 door in an STC 65 wall), the inferior portion controls the isolation achieved. Even before these construction considerations, planning for appropriate adjacencies
and separations, as discussed in Sections 3-4 and 3-5,
should have been applied, as the most cost-effective means
to obtain isolation.
5-1
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Design Guide: Band Training Facilities
March 1983
Practical Approaches for Accoustic Construction
This discussion presents approaches and details for soundisolating construction in the form of discussions of specific room types. But the methods described for a specific
space are applicable generally to isolation problems of
similar scope. Throughout this discussion, refer to Table
5-1, which indicates the performance that can be expected
of well-sealed barriers of the respective types. Also see
Tables 5-2 and 5-3, which suggest constructions adequate
for different room types and combinations of materials, discussed in detail below.
A. Individual Practice Rooms
Individual Practice Rooms, from 65 to 125 square feet
in area, may have background noise up to NC-35 (see Paragraph 3-5.A), yet sound produced in the rooms may reach
90dB. Thus, by first approximation, the barrier between adjacent practice rooms should reduce the sound by at least
55 dB, or should be rated STC 55. This does not guarantee inaudibility, which would require an “overdesign” by
10 to 15 dB, but it does represent a reasonable goal.
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Table 5-1 Typical Performance Ranges of Sound Isolating Constructions
STC*
Floor-Ceiling** Constructions:
Wall Constructions:
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Wood joist floors without ceiling
Same with rigidly attached ceiling
Same with resiliently attached ceiling
Concrete slabs/decks without ceiling
Same with suspended ceiling
Double (floated) concrete slabs
Double concrete slabs with suspended ceiling
Doors and Windows:
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Simple stud walls, with gypsum wallboard
Double stud walls, with gypsum wallboard
Demountable partitions, with gypsum wallboard
Simple masonry walls
Same with resiliently furred skins of gypsum wallboard
Double (tieless) masonry walls
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Hollow core door and wood frame
Solid core or hollow metal ungasketed doors
Fully gasketed (acoustical) doors
Tandem doors in common wall
Tandem doors in sound lock
Typical single glazing or thermal double glazing
Special laminated acoustical glazing
Well-separated double glazing
20-30
30-40
45-55
35-55
50-65
55-70
65-80
30-40
45-55
30-45
35-55
50-65
60-75
10
15-25
30-50
35-55
40-70
25-35
35-45
40-55
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*Note the limits of Sound Transmission Class (STC) measurements as a guide to performance in
band facilities, as discussed in 3-5.A. See discussion of specific room types in this chapter for
recommended STC levels.
* *All ceilings solid plaster or gypsum board; not acoustic tile which is inherently porous.
5-2
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Figure 5-1. Section Through Typical Individual Practice Rooms
avoid a claustrophobic effect in the small rooms. Concrete
plank spans from outside walls to corridor walls, so the
walls between practice rooms are not loadbearing, and can
have a resilient, flexible joint to the roof to reduce sound
transmission. An acoustic tile ceiling is required for
absorption, not isolation. The door is gasketed, with a
raised threshold.
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Figure 5-1 illustrates a typical practice room configuration
The building is concrete slab-on-grade to reduce sound
transmission. Walls to corridors may be hollow concrete
block, and walls between rooms should be solid or sandfilled. These party walls are shown splayed for sound
diffusion as discussed in the acoustics section to follow.
Clerestories and windows allow natural light and help
5-3
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Figure 5-3. Gypsum Wallboard Construction Between
Two Individual Practice Rooms
(not recommended)
A recommended construction to achieve this noise reduction between Individual Practice Rooms is shown in figure 5-2: 8" solid or sand-filled concrete masonry units with
a resiliently filled joint to a concrete roof. The space
between the top of wall and roof, between the sealant beads,
is stuffed with fiberglass insulation. Similar units with resiliently furred gypsum board on one or both sides, are
preferred. Tieless double masonry would be ideal.
Because of their light weight (see Paragraph 3-5.A), stud
walls, regardless of their STC ratings, generally are not
recommended. Figure 5-3 is included only to show the type
of stud wall that must be provided if masonry absolutely
cannot be used. The wall shown has two separate rows of
studs, multiple layers of gypsum board, and batt insulation.
The roof illustrated is concrete, and sealant fills the joint
between gypsum and concrete.
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Figure 5-2. Minimum Wall Construction Required
Between Individual Practice Rooms
5-4
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Design Guide: Band Training Facilities
Figure 5-5. Masonry Wall and Concrete Plank Roof
or without concrete topping). Isolation performance
decreases with decrease in mass, and with increase in
stiffness (stiff materials carry vibrations more readily).
Concrete is best, and metal deck without topping is worst.
A concrete or concrete plank roof (as in Figure 5-5)
requires no further ceiling isolation measures in the case
of Individual Practice Rooms. Only a regular acoustical
ceiling (non-STC rated) is needed to provide absorption
within the room, as a room acoustics provision.
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5-5
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A. Wall running in same direction as deck
corrugations
Figure 5-6. Joints Between Masonry Walls and Metal
Roof Decks
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Metal roof decks are unsuitable for use in Band Facilities,
for several reasons. They are lightweight, stiff, and continuous for long distances, so they will carry vibrations from
one room to many others. The corrugations of the decking
make it extremely difficult to seal the wall/roof joint. The
most effective modification to metal roof decks is regular
weight concrete topping, to add mass and dampen
vibrations.
If metal decking with concrete is used over Individual Prac-
5-6
B. Wall running across deck corrugations
tice Rooms (see Figures 5-6A and B), it should be shielded
from the room with an STC-rated (STC 35-44) suspended
ceiling. Careful attention must be paid to the joint between
ceiling and wall, as the wall/roof joint, although it must
be sealed, will be a more difficult problem. In the illustration in Figure 5-6A, fiberglass insulation is stuffed in the
joint between the wall and metal deck, and sealant is run
along the edges.
Figure 5-6B shows a concrete block wall running across
the roof corrugations. A premolded rubber filler strip, supplied by the metal deck manufacturer, is set in a bed of
sealant on the wall, and the joint between the filler and
the roof is also sealed.
Design Guide: Band Training Facilities
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March 1983
B. Small Group Practice Rooms
Small Group Practice Rooms, 300 to 350 square feet in
area, have a Noise Criterion of 30, and sound levels in
the room may reach 95 dB. Thus, if adjacent, noise should
be reduced by about 65 dB, requiring barriers rated STC
65. Again, this is a reasonable-not ultimat-goal. Nonadjacent location is advisable.
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The isolation techniques described for the Individual Practice Rooms generally apply, but with more emphasis on
superior performance. Solid masonry walls should be
upgraded with resiliently attached gypsum board or plaster walls (always backed with acoustical batt insulation),
as illustrated in Figure 5-8.
5-9
Design Guide: Band Training Facilities
DG-1110-3-119
Practical Approaches for Accoustic Construction
struction is always necessary in the case of metal roof
decks. But, under a concrete or concrete plank roof, an STC
rated acoustical ceiling can combine attenuation with
absorption.
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Wall skins (Figure 5-9A) should be joined continuously with
the ceiling skin, which should be suspended on resilient
hangers (illustrated in Figure 5-9B), with acoustical batts
laid on top. Note that another ceiling is necessary below
this isolating ceiling, for room acoustics purposes. This con-
March 1983
Figure 5-9. Resiliently Furred Construction
A. Cutaway of wall construction
5-10
B. Resilient ceiIing hanger
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Design Guide: Band Training Facilities
March 1983
Practical Approaches for Accoustic Construction
Doors to these rooms could be either good quality solid core
wood or packed metal doors with acoustical seals or specially manufactured sound control doors. Double glaze win-
dows to interior spaces (corridors and lobbies), with 2
to 3 inches between panes. Line the space between panes
at jamb, sill and head with an inch of fiberglass.
Table 5-3 Recommended Ceiling Treatment
CONSTRUCTION
PLANK ROOF
WITH
RESILIENT
JOINTS AT
RESILIENT
WALL
SEPARATIONS
METAL ROOF
WITH
CONCRETE
TOPPING
METAL ROOF
WITHOUT
CONCRETE
TOPPING
PLANK
ROOF
INDIVIDUAL
PRACTICE
1
1
1,3
5
2,4
SMALL GROUP
PRACTICE
5
5
1,3
7
2,4
LARGE GROUP
PRACTICE
5
5
1,3
7
N.R.R
1,3
5
MAIN REHEARSAL*
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CONCRETE
3,1
1,3
3,1
This table shows recommended ceiling treatments for different room types, depending on type of roof
construction. It indicates the most cost effective combination; other ceilings are possible if they meet criteria discussed in the text.
Ordinary acoustic tile suspended (also provides acoustic absorption).
Ordinary acoustic tile suspended, under resiliently hung gypsum wall board ceiling.
Absorbent panels (fiberglass, etc.) - (provides no isolation).
Absorbent panels under resiliently hung gypsum wall board ceiling.
STC rated acoustic tile (35-44 STC) (provides absorption and isolation).
STC rated acoustic tile (35-44 STC), plus gypsum wall board ceiling.
7. Absorbent panels below gypsum wall board ceiling.
N.R. not recommended
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2.
3.
4.
5.
6.
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*This assumes the roof of the Main Rehearsal Room is not continuous with the roofs of other music spaces. If
otherwise, higher quality constructions are required.
5-11
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Practical Approaches for Accoustic Construction
March 1983
C. Main Rehearsal Room, Large GroupPractice Room and Control/Recording
Booth
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The recommended background noise level in these
spaces is NC-25, though up to NC-30 may be acceptable
in the Large Group Practice Room. Isolation requirements
are more stringent for these uses than for those already
discussed. These spaces are all usually placed in close
proximity, so wall constructions on the order of STC 75 may
be needed. This much isolation is quite difficult to achieve.
In practice, placing the Control Booth between the Main
Rehearsal and Large Group Practice is best. The booth
will then form a buffer between the active music rooms (the
isolation between either room and the booth is in any
case compromised by the window).
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Solid masonry, with resiliently furred gypsum-board skins
on each music room wall, will be adequate for wall construction between these spaces (as already discussed in Figure 5-8). Such walls do not achieve the best performance,
but are compatible with the required windows. (The windows are still weaker than the walls, but their small area
tends to transmit less sound than the larger area of the
walls.)
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Where Large Group Practice or Main Rehearsal Rooms
are directly adjacent to each other or to other music rooms
(see Figure 5-10), construction should be tieless double
masonry walls with acoustical batt insulation between, with
a concrete (preferable) or concrete plank roof. The insulation also aids in preventing inadvertent mortar bridges
between the layers, which would compromise the isolation.
The concrete roof should be discontinuous (or shielded by
an STC-rated ceiling) to avoid flanking.
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Figure 5-11. Section Through A Typical Large Group Practice, Recording, and Main Rehearsal Room Complex
For improved performance, the concrete slab-on-grade
could also have a resilient joint in line with either the resiliently attached wall, or between the two layers of a double masonry wall, depending on the condition.
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The roof deck over these major spaces should be
broken—with a change in roof plane or a parapet—at music
room separations, so the deck doesn’t carry vibrations
from one music room to another. If the roof slab is
noncontinuous, suspend a resiliently hung gypsum board
ceiling in one of the rooms, or provide both rooms with normally hung STC-rated acoustical ceilings.
Figure 5-11 illustrates a typical Large Group Practice/
Recording/Main Rehearsal Room complex, similar to
those shown in the illustrative designs for 45 and 64 person band new construction (see Chapter 6). In this case,
construction is of single, solid masonry walls, with resiliently attached gypsum board wall skins. Since the Large
Group Practice and Recording Rooms share a common precast concrete roof deck, the ceiling of the Large Group
Practice is shielded with a resiliently hung gypsum board
ceiling, continuous with the gypsum board wall skin. Since
the roof over the Main Rehearsal Room is not continuous
with the other rooms, isolation required of the ceiling is
minimal, and can be provided by an ordinary suspended
acoustical ceiling. Wall isolation is still required, in this
case forming a barrier sealed to the roof. To further increase
isolation, a slab break between rooms is recommended.
It is shown here only at the Main Rehearsal Room wall.
Absorptive ceilings are required in all these spaces, suspended below the isolation construction.
Metal roof decks without concrete topping are absolutely
unacceptable in this application. Decks with topping must
also be shielded with a resiliently hung gypsum board ceiling (similar to Figure 5-8). An alternative to the gypsum
board ceiling is construction of a resilient joint in the roof
in line with the room separation (resilient or double wall)
below.
Doors to these major music spaces-especially to the
Main Rehearsal Room—should be the best in the building.
Sound locks (illustrated in the door discussion, Figure
5-12) are preferred. Even with these, one of the two doors
(usually the inner) might be gasketed. If sound locks are
not possible, use special acoustical doors, rated at least
STC 40.
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Design Guide: Band Training Facilities
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March 1983
Practical Approaches for Accoustic Construction
D. Doors
Doors are always the nemesis of sound control planning,
since they depend on the performance of seals that are in
constant operation and thus susceptible to deterioration.
A properly constructed wall will always perform, but doors
depend on frequent adjustment or maintenance of the
seals.
STC 30 + —minimum for Individual Practice Rooms;
also for sound locks (inner door). To achieve this, use
solid wood or fiber-filled metal door, with full gasketing
along all sides including sill and, for double-leaf doors,
where the two leaves meet. Gaskets of various configurations are available from most weatherstripping
manufacturers, but they must be compliant (neoprene,
vinyl, etc.) to make an airtight seal. Hollow metal frames
are grouted or packed with insulation. Joints between
frame and wall must be well sealed.
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Doors are rated by Sound Transmission Class (STC) as
are other constructions, but STCs achievable for doors are
lower than for similarly complex walls etc., and the best
acoustical doors are expensive. Manufacturers recommend
that door STCs be lower than those for walls. Within
reason, this is correct, because doors generally constitute
a small portion of the wall. A range of doors recommended
for band facilities is described below. For reference, a wood,
solid core, ungasketed door rates about STC 20 (see
also Table 5-1).
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Figure 5-12. Sound Lock—Overhead Plan View
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STC 35 + —preferred for Individual Practice Rooms and
sound locks; minimum for the larger music rooms. Use
either non-proprietary doors as described above, but
with the least possible seals, very well installed and
adjusted, or proprietary acoustical doors rated at least
STC 35. The latter comprise a complete assembly including door, frame and seals.
STC 40 + —preferred for all critical band facility applications, especially for Main Rehearsal and Group Practice Rooms, if sound locks cannot be provided. Use proprietary acoustical doors rated at least STC 40. Good
installation approaching or exceeding STC 50 are thick,
heavy, and very expensive. They may be required in
some cases, but are best avoided by appropriate planning.
Sound locks, shown in figure 5-12, consist of a vestibule
and two doors, and are much more effective than a single
door. Only one of the doors need be gasketed, and even
this is not always essential. Although they take up additional floor space, sound locks are highly recommended
for the larger music rooms. They offer good performance
without depending on perfect gasketing. With one or both
doors gasketed, their performance could well match that
of the surrounding walls. The inside door, in the sound
lock illustrated, is fully gasketed for best performance. The
glazing should be doubled if the inside door is gasketed,
but may be single if not. The vestibule itself should have
an absorptive ceiling. The vestibule enclosure may be
lighter construction than the heavy outside wall.
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and out. The active leaf in a double door should be a
large door (3’-4” or 3’-6”), so musicians carrying tubas or
other large instruments can pass through easily. The inactive leaf can be smaller so the total opening available through
both leaves is at least 6’-0”.
Figure 5-13. Plan of Music Room Double Doors
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Figure 5-14. Double Door Meeting at Astragal
Figure 5-14 depicts the details where the doors meet.
The inactive leaf is fixed with a floor bolt until needed. The
drop seal is shown down, sealing the door bottom. An
astragal with a magnetic seal (a bar magnet inside a flexi-
5-16
ble vinyl gasket) will grip the active leaf when it closes.
The active leaf, since it is shown open, has the drop seal
raised.
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Small fixed windows in acoustical doors (up to one foot
square) may be single-glazed (one pane of glass). For larger
windows in or next to acoustical doors the considerations
from Section E,Windows, should be applied.
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An improved quality sound seal is shown in B. The seal
is an attached neoprene bulb seal held in place with a metal
strip. The door is hollow metal, packed with fiberglass
insulation.
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In further improvements, Illustration C, the frame is
installed in a wall consisting of both masonry and gypsum
drywall, which is resiliently attached to furring channels
on the masonry. Sealant eliminates any rigid connection
between grout-filled frame and the resilient gypsum. The
stop is an attached metal channel with a projecting neoprene strip, applied to a flat jamb.
C. Resiliently attached to furring channels on the
masonry
Figure 5-15. Acoustical Door Frames and Seals
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A raised threshold is most effective for stopping noise, but
it makes moving heavy musical instruments and sound
equipment difficult, and it may be a danger when a large
number of people are using the door in a short time.
Raised threshold seals (Figure 5-16A) are effective for individual Practice Rooms. The wood door shown compresses a neoprene bulb sound seal against the wood threshold.
Cam-operated drop seals (5-16 B and C) are recommended
for larger music rooms. The cam is a rod through the door,
which is pushed by the frame when the door closes, and
lowers the seal. When the door opens, the cam is released
and the seal raises by springs. The path over the bottom seal is also closed by a seal that slides against the
door side. The moving bar is metal, with neoprene or
felt inserts. Figure 5-16 C shows a cam-operated drop seal
attached to the door, rather than integral as in B. It is
shown in closed position.
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A. Raised threshold
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Door closers must be strong enough to close the doors
against the resistance offered by all types of compression
seals. All seals should be located in one plane, to eliminate leaks at corners where otherwise adjacent seals may
not meet.
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B. Cam operated drop seal built into
door
C. Surface mounted cam operated
drop seal
Figure 5-16. Acoustical Door Bottom Seals
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E. Windows
The best acoustical improvement that can be made to a
window is double glazing, with the largest possible space
between the two panes of glass—as much as the wall
thickness permits, but no less than 2 or 3 inches. The two
panes must not be rigidly connected to each other. Either
set the glass in neoprene gaskets, or, if the window is
installed in a double wall, split the frame. The frame area
between the panes should be absorptive. Performance of
the two panes is improved if they are of different
thicknesses, so that sympathetic vibrations are not transmitted from one to the other.
The construction in Figure 5-17B deals with the problem
of a double wall, resiliently attached gypsum wallboard on
masonry. This frame is shown in wood, but it can be built
in metal as well. Sealant keeps the frame from firm attachment to the resilient wall (the only structural attachment
being to the masonry). Wood stops form similar conditions
to that described above.
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Windows are no match for the isolation provided by solid
walls. Interior windows should be installed only where absolutely necessary, either for supervision, checking on occupancy or relief of claustrophobic conditions, or to allow
visitors in the Lobby to view functions in the music rooms.
Windows smaller than 1 foot square may be single glass,
whether in walls or doors.
The most critical window installation is between the
Recording/Audio Control Booth and the Main Rehearsal
and Large Group Practice Rooms. Split frames and double glazing are recommended. One pane might be laminated acoustical glass; but, in general, ordinary plate glass
of 1/4" to 1/2" is acceptable in this building type.
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Figure 5-17A shows a hollow metal window frame assembly in a masonry wall. A metal frame packed with fiberglass is attached to the masonry, and sealed along its edges.
Other metal “Z” angles are assembled to form a pocket
for acoustical absorption (more fiberglass behind a cloth
screen); and to form channels to hold the glass in neoprene gaskets.
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Except on unusually noisy sites (e.g., near airfields), there
is no need for special exterior glazing. Even where such
need exists, remember that an open window (for natural
ventilation) provides zero sound attenuation.
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Practical Approaches for Accoustic Construction
Electrical systems must be designed to eliminate noise
from the fixtures themselves, to prevent components and
conduits from transmitting sound from one room to
another, and to avoid air leaks incidental to installation.
Ballasts for fluorescent lighting in any music room used
for critical recordings should be installed remote from the
room, to eliminate noise. In Individual Practice Rooms,
use A-rated ballasts, which may be located at the fixture.
Any clocks in music rooms should be silent-type.
To avoid conduits becoming conductors of sound, slack sections of flexible conduit should be used where they cross
music room walls which have resilient gypsum wall board
skins. Avoid running power distribution conduits above
music spaces, or across their ceiling plenums. Try to avoid
wiring within isolation walls, as the solidity of the construction will be compromised. Wall outlets should never be back
to back.
5-3 Noise Control and
Mechanical Systems
Background noise in buildings is primarily produced by outdoor traffic and the building’s own mechanical systems.
Traffic noise is seldom a problem in closed, air-conditioned
buildings, unless they are located along busy streets or
highways, which is not recommended (see 2-5.A.3).
The mechanical systems must be engineered for quiet
operation, but preferably so that the noise level is not much
below the applicable NC criteria (see Table 3-1). Bland
background noise, at modest levels, helps mask other intrusive sounds, with which even the best sound-isolating
barriers cannot cope. The principal sources of this mechanical system background noise are: the fans that circulate
air; the ducts, including volume control boxes, that distribute the air; and the diffusers and grilles through which
air enters and leaves the room. Each must be considered
if correct background noise levels are to be achieved.
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Use of surface mounted fixtures will avoid cutting large holes
in isolation walls and ceilings, although lighting may be
recessed in the absorbent ceilings that are not part of
isolation. (Sound-rated suspended ceilings are designed
for integral lighting without compromising their performance).
If outlet boxes and switches must be recessed into sound-
isolating barriers, they should be well-sealed (to maintain
airtightness) and, if the barrier is resiliently attached, the
box or switch must not compromise the resiliency. Figure
5-18 illustrates a light fixture hanger passing through a
resiliently hung ceiling. The caulked joint around the hanger
rod not only seals the opening but also avoids rigid contact between the resiliently suspended ceiling and the rod.
The resilient ceiling hanger is also shown. An escutcheon is optional to hide the joint.
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F. Lighting and Electrical Systems
A. Fan Noise. Fan noise—often a low-frequency
rumble—travels equally with and against the airflow.
Consequently, supply and return air systems merit
equal consideration. The initial noise level (at the fan)
depends on factors such as fan type, capacity (cfm),
and static pressure. In general, the larger the fan, the
noisier it is. The noise is carried by the ducts which,
unless treated, offer very little attenuation. The only
acoustically effective treatments are internal glass fiber
lining (not less than 1” thick) and silencers that can be
inserted in the ducts.
B. Duct Noise. Noise generated in the ducts is due
turbulence caused by sudden velocity changes, sharp
turns, and generally by high air speeds. It tends to be strongest in the middle frequencies. The best solution is to minimize duct noise by careful design-by promoting smooth
airflow at moderate velocities-and by inserting adequate
lengths of acoustically-lined duct between points of turbulence (such as volume control boxes) and the room.
In general, ducts between fans and the music rooms they
serve should be of generous length and lined with 1”
fiberglass. In addition, if ducts are of insufficient length, manufactured duct-silencers should be inserted. Common ducts
serving several music rooms should be long, with some 90°
bends, and acoustically lined. In buildings served by high-pressure, high-velocity systems, pressure and velocity must
be reduced outside the music rooms, i.e. before ducts
penetrate the rooms’ sound-isolating constructions.
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Figure 5-19. Duct Penetrations in Sound-Isolating Construction
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Airflow velocities in the terminal necks of ducts where they
connect to diffusers or grilles should not exceed 370 fpm
for NC-25, 450 fpm for NC-30, 550 fpm for NC-35, and 675
fpm for NC-40.
C. Diffuser Noise. Noise at the diffusers and grilles—
typically a mid-to high-frequency hiss—also is caused by
turbulence as air is forced through restricted openings.
It is exceedingly velocity-dependent: a doubling of airflow
through a given device will increase the noise level by
15 to 20 decibels. The only acoustically safe approach is
to use oversized diffusers and grilles with large free area,
without integral volume control dampers, straighteners, or
equalizing grids. Diffusers and grilles serving music rooms
should not incorporate volume control dampers. If required,
these are best located at the branch duct takeoffs,
because their noise will then be attenuated by the acoustically lined ducts.
Absorptive finishes reduce reverbation as well as loudness.
Most are porous (fibrous or cellular), allowing sound to
enter the material, where its energy is converted into heat.
Fiberglass board is an excellent example. To be effective,
such materials must not be too thin—at least 1” —or they
must be backed by an airspace of at least several inches.
Some absorbers are not porous, but they are thin and free
to vibrate in response to the sound. For example, thin
wood paneling (or even furred gypsum board) vibrates and
thus, by resonance, absorbs sound. However, resonant
absorbers are much less efficient and their absorptivity is
limited to the low frequencies.
Absorptivity is commonly given by the material’s Noise
Reduction Coefficient (NCR*). But like the STC (for
isolation), it does not indicate low-frequency performance,
which is of considerable interest in the design of band
rooms. It can be used as a guide, but with this important
qualification: every room should have at least one major
surface that not only has a high NRC (0.60 or more), but
also absorbs low-frequency sound. Most typically, this
requirement is met by using a suspended (not glued-on)
acoustic tile or lay-in ceiling. The low-frequency absorptivity, by resonance, of any furred wall is not enough. Low
frequency absorption can also be provided by a large
air space behind wall mounted panels, as in the corner treatment illustrated in Figure 5-20.
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D. Existing Systems. Mechanical systems should always
be designed to meet the recommended criteria. If existing
systems are involved, their noise levels should be measured and the feasibility of reducing any excess noise should
be investigated.
A. Absorptive Finishes
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The air distribution systems should be so designed that
at no point in the building, in any duct, does the airflow
exceed 1500-2000 feet per minute.
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E. Equipment Location. All major equipment should
be located remote from the active music rooms. Fans,
pumps, compressors, etc. are best located on-grade,
where they can be more easily vibration-isolated. Mid-span
locations on long-span structures are unacceptable. All
rotating, reciprocating, and vibrating equipment must be resiliently supported or hung. All their connections to the building structure must be resilient; and ample static deflection
—up to several inches in the most critical cases—should
be specified.
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F. Penetrations of Sound-lsolating Construction. Penetra
tions through sound-isolating walls and ceilings must be
perfectly sealed. The annular openings around ducts and
pipes should be either grouted solid or sealed with a nonhardening sealant (see Figure 5-19).
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5-4 Room Acoustics
Achieving satisfactory room acoustics for practice and
rehearsal is a complex matter. As discussed in 3-5.C,
the concerns include loudness and reverberation control,
clarity and communication among the members of an
ensemble, and avoidance of certain unwanted effects. Adequacy in all these respects is difficult to define, since individual musicians and bandleaders have their own standards
of reference, often based on past experience in rooms
that may or may not have been to their liking. The following paragraphs describe the means of achieving results
that should satisfy most users of the facility.
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tains affords acoustical variability.
A wide variety of acoustical ceilings, made of mineral
fiber, fiberglass, as well as fiber-backed perforated
metal. These should always be suspended at least a
foot below the solid deck or ceiling, to enhance lowfrequency absorptivity.
The basic guidelines regarding placement of absorptive
materials are: (1) always treat the ceiling, most usually
with suspended acoustic tile; (2) always treat at least
the equivalent of one wall, but preferably spread the treatment over several walls; (3) if any two walls are parallel,
treat one or both so that no major opposite and parallel surfaces remain hard. In general, this will assure a sufficient
quantity of absorptive material (for loudness and reverberation control), a fair state of diffusion in that the absorbers are distributed throughout the room, and adequate flutter
control.
Floors may be carpeted, but do not need to be. As indicated in Table 5-4, carpet is a poor absorber. Adding it
to the other, required absorbers (on the walls and ceiling)
will afford little additional control.
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*The Noise Reduction Coefficient (NRC) is the arithmetic
average of a material’s sound absorption coefficients in the
octave bands centered at 250, 500, 1000 and 2000 Hertz,
rounded off to the nearest multiple of 0.05.
● Wood-fiber panels such as “Tectum”, backed by at
least 1-1/2” batts, since such panels alone are not
very efficient.
● Heavy—typically velour-curtains, draped to one-half
to two-thirds their flat area, and heId 6" or more off
the wall. As noted earlier, the movability of such cur-
●
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Typical NRC’s of various finishes and treatments are given
in Table 5-4. Specific materials suitable for music practice and rehearsal rooms are described below.
● Semi-rigid fiberglass board, 1” to 2" thick, covered
by a sound-transparent material such as cloth, perforated vinyl or metal, or an open mesh or screen.
● A similar detail to the above, made of fiberglass batts,
or if a dark finish is desired, of fiberglass duct liner
board. (Batts are also very effective if placed behind
fiberglass board, to increase the treatment’s thickness
to 3" or 4".)
Table 5-4 Approximate Acoustical Absorptivity of Room Finishes and Treatments
Floor Finishes:
Wall Finishes:
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All hard and rigid finishes
Wood on joists
Average glue-down carpet
Thick carpet without underpad
Thick carpet with underpad
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Brick, drywall, etc.
Painted concrete block
Unpainted concrete block
Medium-weight curtains
Tectum or similar (average)
Heavy curtains
Mineral fiber wall panels
Glass fiber wall panels (1”)
Tectum over glass fiber
Glass fiber wall panels (2”)
NRC*
0.05
0.10
0.25
0.35
0.45
0.05
0.10
0.25
0.45
0.50
0.60
0.60
0.75
0.80
0.90
Ceiling Finishes:
Concrete, steel deck, etc.
Suspended plaster or drywall
Wood boarding
Mineral fiber tile - minimum
Fibrous spray (1”, well applied)
Acoustical deck systems (average)
Mineral fiber tile - maximum
Well-perforated metal pan with insulation
Glass fiber ceiling board
0.05
0.05
0.10
0.50
0.65
0.65
0.80
0.85
0.90
*Higher number indicates better performance. See 5-4.A for definition of NRC.
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Figure 5-21. Room Acoustics in Main Rehearsal Room
B. Room Shape
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The shaping of rooms for band practice and rehearsal
was discussed in 3-5.C. In summary, the basic recommendations regarding room shape are: (1) avoid perfectly square
or cube-shaped rooms, especially when designing small
music rooms; in other words, let the principal dimensions
be unequal; (2) if possible splay one or more of the major
surfaces, although with proper absorptive treatments, this
is not always necessary; (3) avoid concave shapes that will
focus sound; (4) be generous with size, specifically with
ceiling heights.
C. Main Rehearsal Room
The design shown in Figure 5-21 illustrates the major room
acoustics design issues for Main Rehearsal Rooms. This
space combines ample height with non-rectangular geometry and incorporates fixed as well as variable absorbers.
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The floor is flat and bare, allowing great flexibility in the
arrangement of band personnel. The ceiling is largely
absorptive—at all frequencies including the lows, because
it is suspended over an airspace. The reflective inserts in
the ceiling (minimum 4’ x 4’ each) help players hear each
other and also blend the sound as heard by the bandleader.
Assuming part of one major wall (usually the front wall)
is covered by chalk or tack boards and thus must remain
reflective, the opposite wall is permanently absorptive.
Mounting the absorptive panels several inches off the wall,
as noted, or backing them with batt insulation, which will
add thickness to the treatment, increases absorptivity. The
remaining walls—splayed in this example—can be covered with curtains or remain exposed, to suit acoustical
preferences. The curtains could also cover the chalkboard
if more absorption is required. Note that the curtains preferably should be sewn in individually movable panels, each
up to 10’ wide when extended. This permits locating cur-
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Practical Approaches for Accoustic Construction
tains anywhere along a track, without necessarily covering a whole wall.
D. Group Practice Rooms
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The recommended treatment of Group Practice Rooms
falls in between that of Main Rehearsal, described above,
and Individual Practice, which follows. Large Group Practice Rooms should be similar to Main Rehearsal Rooms,
except reflective inserts in the ceiling normally are not
required. Curtains for variability remain advisable. Small
Group Practice Rooms might more resemble Individual
Practice, with no or minimal acoustical variability.
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Attention should be paid to the durability and maintainability of materials. As shown in Figure 5-21, the wall treatments extend almost down to the floor, which they must,
because otherwise there would be a zone of uncontrolled
reflections between the lower, untreated walls. This
requires particularly durable facing over the fiberglass panels.
Curtains can be replaced more readily than panels but
if their durability is a real concern, their extent could be limited from the track (at or near the ceiling) down to about
7’ above the floor. In such a case, fixed treatment may be
required on the lower portion of the wall.
E. Individual Practice Rooms
B. Flutter treated with absorption and
a splayed wall
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The recommended treatment of Individual Practice Rooms
is a smooth, hard floor, with a suspended acoustic tile
ceiling. Some wall treatment is recommended regardless
of room shape; and it should be at least 4’ high, starting
about 2’-6” above the floor, which puts it in the height range
of musicians’ instruments and ears. The fist rule in locating the treatment is to eliminate flutter, as described in Figure 5-22. Although distribution across several walls is
desirable for improved diffusion, Individual Practice Rooms
are generally too small to allow a “patchwork” of reflective and absorptive surfaces.
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It should be remembered that some ceiling materials only
absorb sound. These include fiberglass lay-in panels,
which are extremely absorptive (NRC 0.90). If, however,
the suspended ceiling also must attenuate sound (for
example, if it is hung below a continuous deck), then the
choice is limited to attenuation-rated tiles and panels,
which are made of mineral fiber, often foil-backed. They
are less absorptive (NRC 0.60), but still adequate in most
cases.
Prefabricated practice modules require no additional
treatment. Their design incorporates ample areas of very
absorptive finishes—most typically, perforated metal over
several inches of fiberglass. Because of this and because
of their confined size, they are even more “dead” than
conventionally built practice rooms, treated as recommended.
C. Corner echo eliminated with absorption; flutter eliminated with wall
splays
Figure 5-22.
Absorption and Room Shape to Treat
Acoustical Problems
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Chapter 6:
Illustrative
Designs
Contents
6-5
Using this Chapter
New 45 Person Band Facility
New 65 Person Band Facility
Renovation of 6,150 SF Battalion
Headquarters, with Additions
Renovation of 12,700 SF Enlisted Men’s
Service Club
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6-1 Using this Chapter
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This chapter presents four Illustrative Designs of typical Band
Training Facilities, including:
● New Construction example for a 45 person Band;
● New Construction example for a 65 person Band;
● Renovation, with additions, of an existing 6,150 Square
Feet (SF) Battalion Headquarters and Classroom
Building, for a 45 person Band;
● Renovation of an existing 12,700 SF Enlisted Men’s Club,
for a 45 person Band.
These designs illustrate the programming, facility design,
space relationship and technical systems concepts presented in this Design Guide. They are not intended as
definitive designs and plans. They are schematics, not finally
developed designs; and they are located on abstract sites,
not specific posts. They are designed to meet the standard program criteria presented in the previous chapters
in the context of typical real-post design considerations. The
two renovation designs are based on real existing building plans and illustrate typical cases of existing structures
that posts find for renovation for Band Training Facilities.
For each Illustrative Design, this chapter presents a space
program, plans and drawings, design discussion and
analysis. These designs are intended to be used by Band
personnel, Facility Engineers and District Engineers, to
help them understand the guidance provided in this document and its implications for their own facility requirements. Each installation should develop its own program
requirements and designs, responding to local programs,
although their designs may vary considerably from these
examples.
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Illustrative Designs
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Figure 6-1. New 45 Person Band Facility - Perspective Sketch
The Main Rehearsal Room has direct access through a
recessed double door from the Lobby, for band personnel
and visitors. Another double door is convenient to the
Storage Room and Loading Dock, to accommodate large
instruments and equipment. The space provides the band
leader with direct visual contact with the adjacent Recording/Audio Control Booth. Glazing at the main room doors
permits views in for visitors in the Lobby. Movable curtains
and a mix of absorptive and reflective surfaces on the
ceiling provide appropriate sound diffusion and adjustable
“liveness” of sound for best room acoustics. Some or
all of the wall treatments could be fixed.
1. Main Rehearsal Room. This most important space in
the Band Training Facility is large enough to accommodate the entire band at once, plus visitors and the large
instruments and equipment which often are left set up there,
and still permit movement to alternative configurations
for different rehearsal and recording situations. The walls
are non-parallel, to avoid flutter and to help diffusion. The
high ceiling, averaging at least 20 feet, relieves loudness
and generally helps room acoustics. The tall roof also
presents a visible image for this focal space.
2. Group Practice Rooms. One Group Practice Room
is designed to accommodate a second Stage Band practicing simultaneously with another in the Main Rehearsal
Room on the other side of the Audio Control Booth. The
second Group Practice Room is large enough for 8-to-12member groups. As in the Main Rehearsal Room, the walls
are non-parallel and the roofs tall (average 15 to 18 feet)
for acoustic reasons. The Large Group Practice Room has
adjustable curtains and mixed surface materials for variable room acoustics, while the smaller room has fixed
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-Main Rehearsal, Large and Small Group Practice - are kept
separate from each other, for sound isolation. The individual Instrument Locker area is central to the facility, very
convenient to the Toilets/Lockers/Showers, Day Area,
Individual Practice Rooms, and easily accessible to the
Library and all the large music rooms. Unit Supply/ Storage area is immediately adjacent to the Main Rehearsal
Room, Large Practice Rooms and Loading Dock, for easy
equipment movement. And the CQ desk has excellent overview of the Main Entrance, Individual Instrument Lockers,
Day Area, Service Entrance and doors to the Unit Supply/
Storage rooms.
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Illustrative Designs
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Figure 6-3. New 45 Person Band Facility - Site Plan
building. Space for a trophy display case is included, facing the entry.
3. Recording/Audio Control Booth. This room is
designed with ample space and counter area for extensive recording equipment and storage, even beyond the
furnishings and equipment listed in Chapter 4, to
accommodate projected growth in this area. Built with
acoustically isolating partitions and glazing (see Chapter
5), this room provides direct, eye-level contact with the Main
Rehearsal Room and Large Group Practice Room.
5. Library. Centrally located for convenient music
distribution, the Library is visible through glazed partitions
from the Lobby. It provides extensive music materials
storage space, three desk work-stations, and long lay-out
tables for music organization. Music sheets are distributed
through individual racks built into the wall between the Library
and Lobby. An alternative is rolling carts with sorting
shelves for music distribution to other spaces.
4. Lobby. This is designed as an attractive, skylit entry
space at the heart of the Band Training Facility. It provides direct, convenient access into the spaces that generate the large-volume traffic of band personnel - the Main
Rehearsal Room, Group Practice Rooms, Library and
Unit Supply Room. It is also adjacent to the Administrative
Offices and the “private” zone of Individual Instrument
Lockers/Day Area, with close access to the Toilet Rooms.
The Lobby space is large enough to accommodate the
traffic these functions generate, and provides easy visual
orientation for access to all the major spaces of the
6. Offices. The Office block is located immediately off
the Lobby, just inside the entry. This permits access by
the Commander and visitors without intrusion into the
“private” band personnel spaces. Separate offices for
the Commander, Enlisted Bandleader, and NCO/Performance Group Leaders are provided. Administration and
Operations/ Transportation are in a sub-divided space
with two desks in each part. All offices have windows to
the outside, overlooking the front entrance to the facility.
The Charge-of-Quarters desk projects into the Lobby to provide optimal overveiw of the Main Entrance, Individual
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absorptive panels on two walls and across one right-angle
corner.
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.
7. Unit Supply/Storage/Instrument Repair. This area
is located just off the Lobby, adjacent to the Loading Dock
and with convenient access to the Main Rehearsal Room
and Group Practice Rooms for large instrument and equipment movement. A large area is provided at the Unit Supply counter, to accommodate a large number of people at
once. A roll-up grill closes off the counter when not in
use. Included in the Unit Supply Room is the Instrument
Repair space, with a large work table and sink, separated
by a secure wire mesh partition. The Storage area is a separate room, divided from Unit Supply with a wire-mesh
partition, and with lockable double doors, to provide high
security for valuable instruments and equipment.
12. Outdoor Spaces and Site Design. The Loading
Dock is located immediately outside the Storage Room
and Main Rehearsal Room. It is designed for truck-height
loading, and with ramp and stair access. It is also
designed to double as an outdoor performance space, with
the walls of the building providing a reflective back-drop,
and with the paved service area and grassy slope behind
serving as audience space (see Figures 6-2 and 6-3).
Portable shells might be used to extend the reflective
backdrop.
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9. Individual Instrument Lockers. This space includes
one locker for each musician, sized for the range of instruments required. The locker modules are only 4 feet high,
providing space on top for setting down instruments and
their cases. This area is central to all the Practice and
Rehearsal spaces, and convenient to the clothing
lockers/dressing area, which are the spaces band personnel will be moving to and from. The Instruments Lockers
are clearly surveyed by the CQ desk for security purposes.
10. Day Area. The Day Area is designed as a relaxation and recreation space with two sub-areas, a quiet
A car and bus drop-off is located directly in front of the Main
Entrance to the facility. A paved Entry Court outside the
Main Entrance, and a paved recreation Patio outside the
Day Area, are defined by low planting, benches, and specimen trees (see Figure 6-1).
Parking is provided for all band personnel, with direct
access to the Main Entrance. The parking driveway extends
to the Mechanical Space access at the back of the
building. The Drill and outdoor practice area is just behind
the Loading Dock, close to the building.
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11. Toilets/Lockers/Showers. This area accommodates
40 clothing lockers for men, and 11 for women, sized to
accommodate uniforms on hangers. Ample bench, dressing,
shower and toilet space is included. Uniform presses are
also provided. The plumbing layout is such that, if the ratio
of male and female personnel changes (assumed for this
design to be 80%/20%),the partition dividing the two areas
can be relocated accordingly without major plumbing
reconstruction. The entrances are designed to permit access
directly to the toilets, without passage through the
dressing/shower areas.
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8. Individual Practice Rooms. Nine Individual Practice
Rooms of different sizes provide varied accommodation of
1,2, 3 or 4 musicians practicing. These rooms are located
near the Individual Instrument Lockers, and their access
corridor is sized for large instrument movement. One
angled wall in each practice room offers acoustic advantages in reducing flutter. Absorptive surfaces are placed
on two walls and across one corner of each room. All the
Individual Practice Rooms have outside windows, either
eye-level or clerestory, to make the practice environment
more pleasant, and to counteract the claustrophobia of
small spaces.
lounge area and a noisier games and card table area. The
whole area has views out to the attractive landscape,
and direct access to an outdoor recreation Patio. The Day
Area is located beyond the Instrument Lockers for privacy
from the “public” Lobby zone, while still allowing some overview by the CQ. The ring circulation system, through the
Day Area, provides direct access to all building functionspaces.
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Instrument Lockers/Day Area, Service Entrance/Storage
area, and access to all major activity spaces. This desk
can be shut and locked with a metal grating for security.
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Design Guide: Band Training Facilities
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Illustrative Designs
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Figure 6-4. New 65 Person Band Facility - Perspective Sketch
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March 1983
Practice Rooms around two sides of the square Lobby, with
a Unit Supply/ Storage/Mechanical wing extending
beyond; the Toilets/ Lockers/Showers, Library, Individual
Instrument Lockers and Day Area as a block on the third
side of the Lobby; the Individual Practice Rooms as a wing
adjacent to the Individual Instrument Lockers and Day
Area; and the Office block on the fourth side of the Lobby,
next to the Main Entrance.
Most of the space design and relationships comments in
the space-by-space description of the new 45 person facility apply also to this design and should be referred to. The
following indicate the critical additional issues or differences concerning the 65 person design:
1. Main Rehearsal, Group Practice Rooms and Control Booth. The Main Rehearsal Room is significantly larger,
to accommodate the larger band size, greater number
of visitors likely, and the increased sound volume produced.
One Group Practice Room is sized for a second Stage
Band (simultaneous with one in the Main Rehearsal Room).
And two smaller Group Practice Rooms are composed
as a single volume adjacent to the entrance (see Figure
6-5), with a sound-isolating partition separating them. The
convenient relationships of all these rooms to the Lobby,
Audio Control Booth, Storage Room and Loading Dock
are similar to those in the 45 person facility.
All the music spaces are rectangular, with tall sloped roofs.
To promote diffusion, the Main Rehearsal and Large Group
Practice Rooms have angled panels of plywood or gypsum board, superimposed on about half of the otherwise
plain walls (see Figure 6-5). These are designed to form
pockets into which the curtains can be drawn (this increases
acoustical variability in that the curtains can be completely
“in” or “out” of the room). The Small Group Practice Rooms
have fixed, absorptive wall treatments, much like in the
illustrative design for the 45 person facility.
A sound lock, with double doors, provides a good
acoustically-sealed entrance to the Main Rehearsal Room.
This also serves the Control Booth, which is otherwise
similar to that in the new 45 person facility. Another double door from the Main Rehearsal Room faces the Unit
Supply/Storage doors and service corridor; and another leads
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The space relationships of this design meet all the criteria
discussed in Chapter 3. All spaces are on one level, for
best access and equipment movement. “Private” spaces
-Individual Instrument Lockers, Day Area, Lockers/ Showers,
Individual Practice Rooms - are clustered all on one side
of the Lobby. The more “public” spaces surround the other
three sides of the Lobby in a visible manner. The changing and preparation sequence for band personnel is accommodated in the close relationship between Instrument
Lockers and Toilets/Lockers/Showers and the easy access
to all rehearsal/practice rooms. And the CQ desk, projecting from the Administrative Offices into the Lobby, has direct
overview of the Instrument Lockers and through them
the Day Area, and also of the Main Entrance, doors to the
major practice spaces, and the access to the Unit
Supply/Storage and Service Entrance.
for the rest of the building. Exterior walls are masonry,
and interior finishes and technical systems are as described
in Chapters 4 and 5 of this Guide.
As the perspective sketch (Figure 6-4) shows, the high
pitched roofs of the Main Rehearsal, Group Practice and
Individual Practice Rooms emphasize these important
music spaces and visually define them as cohesive entities,
in contrast to the flat roof of the rest of the building. The
organization of the major masses of the building frames
an Entry Court, in the direction of access from the parking and drop-off to the main building entrance.
The basic constructional system of the building is like
that for the new 45 person facility: slab-on-grade, with concrete frame and masonry bearing walls. Masonry partitions
and concrete roof covered with a metal roofing are used
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Design Guide: Band Training Facilities
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March 1983
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Illustrative Designs
Figure 6-6. New 65 Person Band Facility - Site Plan
A kitchenette, with coffee machine, sink counter and supplies storage, subdivides the Day Area into two zones, which
can be used alternately for noisy and quiet functions, at
local option.
2. Individual Practice Rooms. These spaces aggregate
to form another pitched-roof block in the design composition, with the continuously sloped roof higher over the larger
of the Individual Practice Rooms, and lower over the
smaller spaces (see Figure 6-4). There are thirteen practice rooms of three different sizes, for diverse accommodation of one to six players. All the spaces are rectangular,
with acoustic surface treatments as in the Small Group
Practice Rooms. All have either eye-level or clerestory
windows. This block of rooms is immediately adjacent
to the Individual Instrument Lockers and Instrument Cleaning,
for convenient access.
5. Toilets/Lockers/Showers. These are designed with
two entrances each to men’s and women’s, to provide separate access from the “public” and “private” zones, and
so visitor access to the toilets is possible without going
through the dressing/shower areas. The men’s room
accommodates 66 lockers, and the women’s, 16. Showers and toilets for all band personnel are provided, enough
even for rapid changes between performances. Plumbing
fixtures are located in such a manner that, by moving
walls, the number of fixtures can be adjusted between mens
and womens rooms, as in the 45 person example. A separate officers’ toilet, also designed for use by the handicapped, is provided next to the Offices, near the main
building entrance.
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directly to the Loading Dock. Double-glazed windows provide views from the Lobby into the Main Rehearsal and one
Group Practice Room; but the other Group Practice
Rooms are designed without, for greater privacy.
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3. Lobby and Circulation. The Lobby is a central, skylit
entry area, adjacent to every major function-space. It is large
enough for the high-volume people and equipment movement the function-spaces generate. The Lobby provides
good views into the Main Rehearsal, Group Practice and
Library spaces. The circulation system is highly efficient (the
figure listed in Table 6-2 represents less than 20% of
the net total). This is due partly to the immediate adjacency of the Lobby to so many spaces, eliminating corridor need. It is also achieved through shared-use, by
circulation through use-spaces in the Offices, Instrument
Lockers and Day Area.
4. Individual Instrument Lockers/Day Area. This “private”
zone is similar to that in the 45 person design, though larger.
The skylit Instrument Locker area has an Instrument Cleaning counter adjacent, and leads directly to the Day Area.
The Day Area has direct access to an outdoor recreation
terrace, with ample glazing providing views to green space.
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6. Offices. The offices comprise a distinct, flat-roofed
block overlooking the Entry Court. Four private offices have
access off an open but sub-divided Administration and
Operations/Transportation space. This office wing provides
undisturbed access for visitors, directly off the main building entrance, without intrusion on the “private” parts of
the facility. The CQ desk juts out into the lobby to provide surveillance of Individual Instrument Lockers and Day
Area (through a glazed wall), and entrances to the Library,
Main Rehearsal and Group Practice Rooms, and Unit
Supply/Storage.
7. Unit Supply/Storage/Instrument Repair. These spaces
form a distinct low wing, together with the Mechanical Space,
adjacent to the Main Rehearsal Room. They are convenient to the Lobby and all Group Practice spaces for easy
access to equipment by band personnel. Direct double-
Design Guide: Band Training Facilities
DG-1110-3-119
Illustrative Designs
March 1983
door access through a six-foot opening is provided from
Storage to the Main Rehearsal Room and the Loading
Dock, where the heaviest large instrument and equipment
movement takes place. As in the 45 person design, Instrument Repair is accommodated at a long work table, with
sink and storage, in a space separated by wire-mesh
from the Unit Supply Room. Storage is a separate, closed
room, designed for highest security, with a wire-mesh
partition for visibility from Unit Supply.
Several other outdoor spaces are defined by the blocks
of the building: The Entry Court between the Office block
and the Group Practice/Unit Supply wing provides an
attractive approach to the facility. The recreation terrace
outside the Day Area is framed partly by the Individual
Practice block and the landscaping. Parking for all bandmembers is provided beyond the Storage/Mechanical wing
of the building, sharing a vehicular drive with the Loading
Dock and Mechanical Space service access.
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8. Outdoor Spaces and Site Design (see Figure 6-6).
The Loading Dock is designed as an ample outdoor performance stage, with a reflective backdrop of the framing
walls of the building, which also shield the area from street
noise. Audiences are accommodated in the paved service yard and the grassy sloped area beyond. The Drill Area
is just behind this service yard, readily accessible from
the Loading Dock.
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DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Illustrative Designs
6-4 Renovation of 6,150 SF
Battalion Headquarters, with
Additions
This is a design for renovations of an existing building for
use by a typical 45 person band as a Band Training Facility - a very common situation at many posts. The space
program requirements are the same as for the new construction example for a 45 person band, as presented in
Chapter 2 and Table 2-1. The Space Allocations program
for the renovation design is summarized in Table 6-3.
B. Design Solution and Analysis
The design solution for this facility is to renovate the existing structure and construct additional space, as appropriate to fulfill the desired program (see proposed plan,
Figure 6-9). The goal is to achieve the space program and
the desirable space design qualities and relationships
as fully as possible. Inevitably, certain compromises in space
size and design must be made in renovation projects,
because of the constraints of the existing structure. However,
as the plans and the space allocations in Table 6-3 show,
this design meets the space requirements and the design
character and relationship goals quite successfully.
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The building selected for this renovation design is a onestory, 6,150 square-foot Battalion Headquarters and Classroom Building (illustrated in Figure 6-7). This is a common
building type, that is often offered for band use at various
posts. It has the advantage of being of permanent,
masonry construction, which is important for sound attenuation between spaces in a band facility. It also has a large,
open classroom space, which can easily be adapted for
diverse functions. Its shortcomings, however, include the
inadequate overall square footage - 6,150 gross square feet
as opposed to the 12,480 recommended in the program.
Also, the 12-foot ceiling height in the classroom space is
lower than the minimum recommended for the Main
Rehearsal Room (18 feet) and Large Group Practice Room
(15 feet minimum) for band use. Despite these limitations,
this building-type can still be a viable basis for a very good
renovated Band Training Facility.
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A. Situation and Program
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This plan reflects two of the primary considerations in renovation design for Band Training Facilities: First, where space
additions must be made, the new construction added
should be the acoustically sensitive music spaces. Construction quality control limitations make it difficult to
achieve high acoustic performance standards in renova-
Figure 6-7. Existing 6,150 SF Battalion Headquarters-Plan
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Design Guide: Band Training Facilities
March 1983
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Illustrative Designs
Figure 6-8. Renovation of 6,150 SF Battalion Headquarters - Perspective Sketch
After application of these two primary renovation design
considerations, the remaining spaces required for the band
facility - the Library, Unit Supply/Storage Room, individual Practice Rooms, Administrative Offices, Instrument Lockers and Day Area - are laid out in the balance of the
existing structure. The resultant design succeeds in achieving most of the space relationship and zoning criteria
desired, as discussed in Chapter 3. Significant features of
this renovation design and its spaces are as follows:
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tion work. Thus, in this design, the major spaces added,
at the front of the existing structure, include the Main
Rehearsal Room, Control Booth, and two Group Practice
Rooms, clustered around a new entry and Lobby space (see
figure 6-9).
1. Main Rehearsal, Group Practice Rooms and Control
Booth. These spaces - in size, character and relation
ship - are similar to those in the new 45 person design
example. The music spaces are all non-adjacent to each
other, having buffer spaces between them for sound
isolation. The Recording/Audio Control Booth has good
equipment and counter space and eye-level visual con-
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Second, the more expensive systems in the existing structure should be retained and reused, wherever possible, for
cost savings benefits. In this design, the Toilet rooms,
with their plumbing and fixture locations, and the Mechanical Space are retained. Lockers/Showers are added
immediately behind the existing toilets, and a handicapped/visitors toilet immediately in front, to minimize the
length of plumbing connections, and for convenient functional relationships. Also, two existing offices and a private
toilet between them are reused for the Commander’s and
NCO/Performance Group Leaders’ offices.
Figure 6-10. Renovation of 6,150 SF Battalion Headquarters - Site Plan
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DG-1110-3-119
Design Guide: Band Training Facilities
Illustrative Designs
March 1983
8. Day Area. This area utilizes the balance of an
existing open clerical space, plus a glazed addition to
the rear of the existing structure (see Figure 6-7,6-9). Access
is off the Instrument Locker area. This plan provides a
place for game tables in the existing space, and lounge furnishings in the windowed addition, divided by a kitchenette counter. Outdoor views and direct access to an outdoor
recreation Patio are also built into the added space.
9. Outdoor Space and Site Design. The siting of and
access to the existing structure determine much of the site
layout and design (see Figure 6-10). A new Entry Court
is built in front of the new music spaces and Main Entrance,
with benches and landscaping, and direct access from
the drop-off area (see Figure 6-8). The paved recreation
Patio off the Day Area is defined by the angle of the new
addition at the back, and new trees and plantings. All the
other outdoor function-spaces are to the right of the facility,
as in the existing: The Loading Dock is expanded to also
serve as an Outdoor Performance space, facing a service yard and an audience area. Parking extends along the
street frontage, in front of this service yard area. Mechanical Space access leads off this service yard, in back of the
building. And the Drill Area is also found behind the Loading Dock and service yard.
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5. Individual Practice Rooms. These are the only
acoustically sensitive spaces in the existing building, within
what had been the open classroom area. The solution
involves using prefabricated sound modules, which can
be easily placed within the existing space without complex
renovation. Despite the high cost of these modules, this
approach is often the best solution for band renovations,
because the self-contained modules achieve sound isolation and room acoustics qualities that would be hard to otherwise guarantee. These modules may take up more
building area relative to the usable practice room area,
because of their spacing requirements. Eight modules,
of varying sizes, are accommodated in this plan.
tion corridor to the Day Area and private Offices, and to
the Unit Supply and Individual Practice Room area. Though
not ideal for the locker function, this does place the instrument lockers convenient to all function-spaces where the
instruments will be used, and is efficient use of the existing space. Instrument Cleaning is just off this Locker space,
adjacent to the Day Area.
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the existing classroom space (see Figures 6-7, 6-9). The
spaces have access to the Loading Dock through the Storage Room. Access to the Unit Supply desk is slightly
less convenient than ideal, and movement of large instruments and equipment from the Storage Room must traverse a circuitous path through circulation corridors and the
Lobby. As in the new design, Instrument Repair is
included within the Unit Supply Room, with a metal-cage
partition and outside window. Storage is a separate room
for higher security.
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6. Offices. The Administration and Operations/Transportation space and Enlisted Bandleader’s Office are
located at the front of the existing structure, next to the constructed addition. This provides a good position for the
CQ desk - on the boundary between the “public” and
“private” zones, in view of the Main Entrance, large music
spaces and Library, but also next to and surveying the individual Instrument Lockers and Day Area. The Commander’s and NCO/Performance Group Leaders’ offices
reuse two existing office spaces. The circulation connection between the offices, and especially the access to the
private offices, is more extended than would be desirable,
and passes through the Instrument Locker area.
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7. Individual Instrument Lockers. Lockers are provided
for all the musicians’ instruments along a long corridor
in the center of the building. Some are double-stacked modules (as shown in Paragraph 4-8); some are single height,
with set-down space on top. This area doubles as a circula-
10. Construction. The construction of the new additions
is designed to match the existing building: slab-on-grade,
masonry walls and concrete roof structure. The new and
old parts are all on the same single level. New exterior walls
are faced in brick to match the existing, and the new
pitched roofs are asphalt-shingled (see Figure 6-8). The
interior finishes and technical systems are similar to those
in the new design described in Paragraph 6-2, with the existing facility modified to match.
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DG-1110-3-119
Design Guide: Band Training Facilities
March 1983
Illustrative Designs
6-5 Renovation of 12,700 SF
Enlisted Men’s Service Club
This example is, like the previous case, a design for renovation of an existing building for use by a typical 45 person band. The space program requirements are the same
as for the other two 45 person band example designs, as
presented in Chapter 2 and Table 2-1. The Space Allocations program for this design is summarized in Table 6-4.
B. Design Solution and Analysis
The primary factor in designing this renovation is the placement of the Main Rehearsal Room, Large Group Practice Room and Control Booth in the existing Ballroom area
(see Figures 6-11 and 6-12), because of their need for
high ceilings. The other critical factor is the retention of the
existing Toilet Rooms and Mechanical Space, as in the
renovation design in Paragraph 6-4, to reuse the more
expensive existing systems. All the other required spaces
are accommodated in the remaining areas of the existing
structure, with the main entrance and most other exterior
door locations also being retained.
The resulting design layout successfully achieves most
of the spatial qualities and relationships desired for a Band
Training Facility. Specific features of this design, on a
space-by-space basis are as follows:
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The building chosen for this renovation design is a onestory, 12,700 square-foot Enlisted Men’s Service Club
(illustrated in Figure 6-11). This is a Standard Design,
constructed at many posts, commonly of permanent masonry
construction. This building is big enough to accommodate
the full band program without any additions. The major
advantage it presents for band use is the Ballroom space
with its 16-foot-high ceiling - high enough to be adaptable
for Rehearsal and Group Practice use, though lower than
ideal. The overall building area - 12,700 SF - is slightly larger
than the 12,480 recommended total; but this small differential is likely to be used up in the inevitable inefficiencies of
renovation layout planning.
straints of fitting spaces into the existing building force
some compromises relative to the space program, as Table
6-4 indicates. Some of the spaces are slightly smaller
or larger than the recommended square footage, although
all are functionally quite reasonable.
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A. Situation and Program
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The design solution for this renovation fits the entire program into the existing structure (see Figure 6-12). The con-
1. Main Rehearsal, Group Practice Rooms and Control Booth. All the major music spaces (except for Small
Group Practice) are accommodated in the tall Ballroom
space, along with part of the Library, Instrument Lockers
and Unit Supply/Storage Room.
Figure 6-11. Existing 12,700 SF Enlisted Men’s Service Club - Plan
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Design Guide: Band Training Facilities
March 1983
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Illustrative Designs
Figure 6-13. Renovation of 12,700 SF EM Service Club - Site Plan
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Supply/Storage and Loading Dock, Rehearsal/Practice
Rooms, and the Individual Instrument Lockers and Day Area.
The three private Offices are beyond the Administration
Offices, along the corridor to Unit Supply, and away from
the noisy, “private” area of Instrument Lockers and Day
Area.
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5. Unit Supply/Storage/Instrument Repair. These
spaces occupy the former stage area of the old Ballroom,
with direct doors to the Loading Dock. The access for bandmembers and for movement of large instruments and
equipment to the main rehearsal/practice spaces is reasonably convenient. Instrument Repair and Storage are separated from Unit Supply by wire-mesh, for security and
visibility. Double doors from Storage through Unit Supply
to the service corridor provide for movement of large equipment and instruments wherever they are needed.
of the building, with outside windows and access to an
outdoor Patio.
7. Individual Practice Rooms. As in the renovation of
the Battalion Headquarters (see Paragraph 6-4), prefabricated modules are used to reliably achieve sound-isolated,
acoustically successful Individual Practice Rooms. As
shown in the plan (see Figure 6-12), four large and five small
modules are placed in the former kitchen/cafeteria area
of the Service Club. The location is conveniently accessible to the Individual Instrument Lockers and is in the protected “private” zone of the building.
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8. Outdoor Space and Site Design. While the Main
Entrance and most exterior doors of the existing EM Service Club have been retained, the site development has been
thoroughly modified to accommodate band needs (see
Figure 6-13). A small Entry Court and drop-off area are
designed in front of the Main Entrance, and a paved recreation Patio outside the Day Area, surrounded by new
6. Individual Instrument Lockers/Day Area. These spaces landscaping. A Loading Dock/Outdoor Performance Space
has been added next to the Unit Supply/Storage at the right
are behind the wall and trophy case to the left of the Lobby,
end of the building, with a good service yard for vehicuwhich separates the “private" zone of the building from
lar access, and audience space framed by earth berms.
the “public”. The Instrument Lockers and Instrument Cleaning space are in the center of the structure, near the
The Drill Area is behind the building near this Loading
Toilets/Lockers/Showers, Small group Practice and individDock, for easy access. Parking for all band personnel is
provided to the left of the building, including Mechanical
ual Practice Rooms. The Day Area - one large space
Space service access.
ample for lounging as well as noisy activities - is at the rear
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