Workshop in Acoustic
Architecture
and
Fall Term 2007 – ARCC 4102 Acoustics – Room 410 AA –
Class time: Tuesdays 2:30-5:30
School of Architecture
Carleton University
Federica Goffi
Federica_Goffi@Carleton.ca
Office 412 Architecture Building
Telephone 520-2600 ext. 2878
“We have two ears and one mouth so that we can listen twice as
much as we speak.
(Epictetus, Greek philosopher associated with the Stoics, AD
55-c.135)
In order to enhance a fully embodied experience of
architecture beyond the mere concerns of ‘likeness’
(visual dimension of architectural design) one has to
be concerned with the true ‘presence’ of
architecture, i.e. the complex wired experience of
visual, tactile, olfactory and aural stimuli. The
‘dominance of image’ as the only legitimate way to
generate design ideas should be challenged by
undermining the very notion that architectural design
is concerned with a portrayal of ‘likeness’,
restoring its full potential to engage our senses
synesthetically, being concerned with the ‘sensuous
presence’ of human inhabitation.
This workshop focuses on the design of AURAL
ARCHITECTURE. The design of aural architecture entails
not just an understanding of the engineering and
physics of sound, i.e. the behavior of sound waves,
room acoustics design criteria, etc. but also insight
into the broader phenomenon of auditory and spatial
awareness, i.e. the QUESTION OF PERCEPTION OF SOUND. The
focus then is not just on a mathematical
quantification of sound and design but on the
experience of space by ‘listening’ to it. The key
question in our design process is how a listener
experiences space and how he is affected by it.
Moving across disciplines, cultures, and time periods
this workshop intends to contribute to building the
theoretical and practical knowledge necessary for the
design of ‘aural’ architecture, i.e. to create a
‘listening’ experience of architecture beyond the
merely visual. Architecture is understood here as a
‘BODY OF RESONANCE’ i.e. a vessel, which ‘produces’
sound by impacting the way sound is diffused,
resonated, amplified within it.
Workshop Objectives
This workshop will raise the student’s awareness of
the possibility to design with sound. The workshop is
intended to help the student build their theoretical
knowledge pertaining the field of aural architecture.
The students will develop an ability to formulate
cohesive theoretical propositions, which will be
demonstrated both visually and verbally.
This workshop aims at providing the students with
critical knowledge regarding the aural dimension of
architecture. ‘SOUND’ and the way we listen to a
space, i.e. how we experience it acoustically, is an
essential and undervalued part of the design process
and of experiencing architecture.
The design issues related to the concept of
‘LISTENING’ TO AN ARCHITECTURAL SPACE will be discussed from
both historical and theoretical points of view,
improving the students ability to think critically on
these issues. Case studies which enlighten the way in
which sound characterizes built space, will be
discussed covering a broad-spectrum of architectural
history up to the modern and contemporary period.
Workshop Description
The workshop will provide an introduction to the
engineering and physics of sound focusing
particularly on the production of sound within
enclosed space, addressing questions of sound control
in buildings, the property of materials in
relationship to sound absorption / reflection, and
noise control. Acoustic measurements and
instrumentation will also be discussed.
During the course of the workshop the students will
be asked to design a piece of ‘aural architecture’
starting from an analysis of a piece of music which
will be randomly assigned. The design process starts
with an analysis of the musical piece and composer
musical theory. The question is then to design an
architectural space, which will allow experiencing
that musical composition. The students are asked to
make a design proposition based on their imagination
of where the piece is being played and for what
event. The design will be developed through acoustic
models, drawings, writings, etc.
Design Method: Designing from the parts to the whole
The students will be asked to design from the
“details” to the whole reversing the more traditional
design approach where details are the last step in a
process where the starting point is the organization
of the overall space, i.e. the drawing of a plan.
This approach is based on the idea that the quality
of a design lies in the production of good
architectural details.
Details are much more than subordinate elements; they
can be regarded as the minimal units of signification
in the architectural production of meaning. These
units have been singled out in spatial cells or in
elements of composition, in modules or in measures,
in the alternating of void and solid, or in the
relationship between inside and outside. The
suggestion that the detail is the minimal unit of
production is more fruitful because of the doublefaced role of technology, which unifies the tangible
and the intangible of architecture.
Marco Frascari, The Tell-Tale Detail 1984
The employment of this design method allows us to
explore the role of details as generators of
architectural meaning. The students will be asked to
design a selected number of the key architectural
details of the building undergoing renewal.
Week 1. Sept 11th Introduction to the Workshop
Introduction to the concept of aural architecture
Workshop philosophy and methods
‘Listening’ to space (i.e. sensing space through
listening)
Itl. Sentire / to listen and to feel
Required Readings #1
Ch. 2 ‘Fundamentals’ (pp. 27-35) in: Charles
Salter. Acoustics, Architecture, Engineering,
the Environment, William Stout Publishers, San
Francisco, 1998.
Calvino, Italo. Under the Jaguar Sun. Little
Stories about Sound, Harvest Book, 1990.
Week 2. Sept 18th Sound Architecture and the
Architecture of Sound
The engineering and physics of sound
Acoustic properties of materials
Reflection of Sound Rays
Reverberations and Echoes
Sound Absorption
Operational Sounds
Architectural Acoustics versus Aural architecture
/ Measuring acoustic parameters versus feeling
space
Introduction to the semester’s assignment:
Design of a piece of aural architecture
based on a musical piece from the following
list. The pieces will be assigned randomly.
- Luigi Nono’s ‘Prometeo’ 1984
- Edgar Varese’s "Poem
Electronique," premiered at the World's
Fair 1958
- Arnold Schonberg’s ‘Transfigured night’
1899
- John Cage’s Euroceras 3 & 4
(commissioned by the Almeida Music
Festival and Modus Vivandi Foundation in
1990)
- Antonio Vivaldi, Le Quattro stagioni,
four violin concertos, 1723 (Baroque
music)
- Johann Sebastian Bach: Mass in B Minor
(1749) (Baroque era)
- Wolfgang Mozart: Don Giovanni (1787)
(Baroque era)
- Giuseppe Verdi: La Traviata (1853) Opera
- Benjamin Britten: Turn Of The Screw
(1954)
- Gianfrancesco Malipiero: Torneo Notturno
(1929)
- Gustav Mahler: Symphony 10 (1911)
- Anton Webern: String Trio Opus 20
(1927)
-
Iannis Xenakis: Metastasis (1954)
Assignment
Research and documentation:
The students are asked to ‘listen’
to and research the musical piece
and composer theory assigned. The
research should investigate also
aspects pertaining the aural
architecture of spaces appropriate
to the performance of that musical
piece, with particular attention
to materials used, geometry and
dimensions.
Listening to space:
Makeup of a ‘Soundscape notebook’
The students are asked to document
throughout the semester their
experience of particular
‘soundscapes’ in enclosed spaces
through vertical and horizontal
drawings sections. Through the
notebook the students will analyze
and learn to represent visually
‘aural-architecture’ by
documenting their acoustic
experience of space. Your ‘visual
recording’ of the aural experience
can be documented by making notes
of space measurements, building
materials and architectural
details, and a verbal description
of the perceived sounds/space.
REQUIRED READINGS
Baumann Dorothea. Geometrical Analysis of
Acoustical Conditions in San Marco and San
Giorgio Maggiore (pp. 117-143) in Moretti.
Architettura e Musica nella Venzia del
Rinascimento, Convegno Internazionale, Bruno
Mondadori, 2006. (Chapter on the Basilica of
Saint Mark)
Salter, Charles. Acoustics, Architecture,
Engineering, the Environment, William Stout,
1998 (Chapter 6: Room Acoustics)
Week 3. Sept 25th Room Acoustic
Anechoic Chamber
Design criteria
Basic Principles of room acoustics: reflected
sound, diffusion, echoes, reverberation
Assignment
Define your design statement and building’s
program. Research the ‘Soundscape’ of the
selected building program and define your
own soundscape by discovering its ‘keynote
sounds’, ‘signals’ and ‘soundmarks’.
Choice of building programs:
Private home
Library
Bathhouse
Monastery / Contemplation space /
Sacred space
Reading Assignment:
Murray Shafer. The Soundscape, Destini
Books, 1977. (pp. 7-10; 205-262)
Week 4. Oct 2nd
Soundscapes
Church acoustics
Auditorium Acoustics
Assignment
Sketches / Drawings of the proposed design
(vertical and horizontal sections)
Required Readings
Vitruvius part on theater design
Week 5.
Oct 16th
Acoustic Drawings and Models
Drawing Acoustics: notational systems
Geometrical Room Acoustics
Analogical Architectural Models for Acoustics:
Water ripple models
Light beam Method
Synesthesia and acoustics
Readings:
Assignment
The students are asked to ‘model’ the key
aural space of their design (model scale
1:50) and test it with the ‘water ripple’
method
Week 6.
Oct 23rd
1st review of overall design
Pin Up of the design work and presentation
of design research and statement
Week 7.
Oct 30th
Wired senses
Synesthesia: the wiring of vision and sound
Multi-sensory seeing (Blesse, Barry 2006
p.49)
Echolocation: seeing in the dark
Week 8.
Nov 6th
Acoustical Design
In class desk crits
Week 9.
Nov 13th Acoustical design
In class desk crits
Week 10. Nov 20th Acoustical Design
In class desk crits
Week 11. Nov 27th Acoustical Design
In class desk crits
Week 12. Dec 4th? Final review of projects
Final Pin up and presentation of drawings
General Bibliography
Ackerman, Diane. A Natural History of the Senses, Vintage
Books, 1990.
Alberti, Leon Battista. On the Art of Building in Ten
Books, translated by Joseph Rykwert, Neil Leach, Robert
Tavernor, MIT Press, 1997.
Alton Everest, Frederick. Master Handbook of Acoustics,
McGraw Hill, 2000.
Bandur, Markus. Aesthetics of Total Serialism:
Contemporary Research from Music to Architecture,
Birkhauser, 2001.
Belton, John & Elisabeth Weis, eds. Film Sound: Theory and
Practice. New York: Columbia University Press, 1985.
Beranek, Leo. Concert Halls and Opera Houses: Music,
Acoustics, and Architecture, Springer, 2003.
Behnke, Elizabeth A. Toward a Description of Integral
Atonality, Integrative Explorations, in Journal of Culture
and Consciousness, Feb. 1993, v. 1, n.1, pp.1-15.
Bernsen, Jens. Sound in Design, Danish Design Center,
1999.
Blesser, Barry & Linda-Ruth Salter. Spaces Speak, Are you
listening?, The MIT Press, 2007.
Brooks Christopher N. Architectural Acoustics, Mc Farlan &
Company Publishers, 2003.
Brougher, Kerry, Jeremy Strick, Ari Wiseman, Judith
Zilczer, Visual Music: Synaesthesia in Art and Music Since
1900.
http://www.hirshhorn.si.edu/visualmusic/
Bull, Michael & Les Back. The Auditory Cultural Reader,
Berg, 2003.
Burnett, C., Fend M., Gouk P. The Second Sense: Studies in
Hearing and Musical Judgement from Antiquity to the
Seventeenth Century, London, University of London, 1991.
Cage, John. Silence: Lectures and Writings, Middletown,
Conn.: Wesleyan University Press, 1961.
Calvino, Italo. Under the Jaguar Sun. Little Stories about
Sound, Harvest Book, 1990.
Cavanaugh, William. Architectural Acoustics, Principles
and Practice, John Wiley & Sons. Available online at:
http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=
h3pWPfRTlP&dq=architectural+material+acoustics&sig=KyhauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1
Chion, Michel. Audio-Vision, Columbia University press,
1994.
Classen, C. Worlds of Sense: Exploring the senses in
History and Across Cultures. New York, Routledge, 1993.
Cox, Trevor & Peter D’Antonio. Acoustics Absorbers and
Diffusers: Theory, Design and Application, Taylor &
Francis, 2004.
Cytowic, Richard. Synesthesia, A Union of the Senses,
Springler-Verlag, 1989.
De Benedectis, Angela Ida & Veniero Rizzardi. Nono, Luigi.
Scritti e colloqui, Milano, Ricordi-Lim, Milano, 2001.
Frascari, Marco. Architectural Synaestesia: A Hypothesis
on the makeup of Scarpa’ Modernist Architectural Darwings.
Available onlilne at :
http://art3idea.psu.edu/synesthesia/documents/synesthesia_
frascari.html
Forsyth, Michael. Buildings for Music, Mit Press, 1985.
Forsyth, Michael. Auditoria, Designing for the performing
Arts, Van Nostrand Reinhold, 1987.
Goffi, Federica. Carlo Scarpa and the Eternal Canvas of
Silence, in ARQ, vol. 10, n. 3/4, 2006 pp. 291-300.
http://journals.cambridge.org/download.php?file=%2FARQ%2FA
RQ10_34%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d
8fa71fHoward, Deborah and Laura
Hauser, M. The Evolution of Communication, Cambridge, MIT
press, 1977.
Hunt, Frederick. Origins in Acoustics: The Science of
Sound from Antiquity to the Age of Newton, Yale University
Press, 1978.
Hawkes, Dean. Thawing Goethe: Musical Connections, in
Scroope Eighteen, Cambridge Architectural Journal, pp. 7483.
Ihde, Don. Listening and Voice. A Phenomenology of Sound,
Ohio University press, 1976.
Kandinsky, Wassily. Sounds. New Haven: Yale University
Press, 1981.
Kish, D. Echolocation: How humans can ‘see’ without sight,
(2001). Available at:
https://www.worldaccessfortheblind.org/thesis.txt
Kish, D. and Bleier H. Echolocation: what it is and how it
can be taught and learned. Available at:
http://www.tiresias.org/research/publications/kish.htm
Leitner, Bernard. ‘Sound:Space’, Cantz Verlag, 1998.
Levin, Flora R. The Manual of Harmonics of Nicomachus the
Pythagorean, Phanes Press, 1993.
Long, Marshall. Architectural Acoustics, Academic Press,
2006.
Lord, Peter & Duncan Templeton. Detailing for Acoustics,
Taylor & Francis, 1995.
Martin, Elizabeth. Architecture as a Translation of Music,
Princeton, 1994.
Moretti. Architettura e Musica nella Venzia del
Rinascimento, Convegno Internazionale, Bruno Mondadori,
2006.
Meyer-Baer, Kathi. Music of the Spheres and the Dance of
Death, Studies in musical Iconology, Princeton University
Press, 1970.
Merleau-Ponti, Maurice. Phenomenology of Perception,
Routledge, 1962.
Merleau-Ponti, Maurice. The Visible and the Invisible,
Northwestern University Press, 1968.
Mille, Olivier. Archipel Luigi Nono, (SW3, Artline
Production/La Sept) 1988. [Archivio Luigi Nono, VHS call
number: 25-1].
Jaworski, Adam. Silence: Interdisciplinary perspectives,
de Gruyter, 1997.
Pallasma, Juhani. The eyes of the skin, Architecture and
the senses, John Wiley & Sons Ltd., 2005
Petrilli, Amedeo. Acustica e Architettura, Spazio Suono
Armonia in Le Corbusier, Marsilio, 2001.
Plack, Christopher. The sense of Hearing, Lawrence Erlbaum
Associates Publishers, London, 2005.
Rasmussen, Steen Eiler. Experienceing Architecture,
chapter X: ‘Hearing Architecture’, MIT Press, 1959.
Available online at:
http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=
architectural+material+acoustics&sig=ya59w1UvebHJnYfCizRfPlkXOg#PPP1,M1
Renzo Piano Building Workshop. Architecture & Music, Seven
sites for music from the Ircam in Paris to the Auditorium
in Rome, Edizioni Lybra Immagine, 2002.
Rindel, Jens Holger, Modeling in Auditorium Acoustics,
from Ripple Tank and Scale Models to Computer Simulation,
Available at: http://www.odeon.dk/pdf/Sevilla_2002_Rindel-
8p.pdf, Accessed: August 7, 2007.
Sacks, Oliver. The mind’s eye: What the blind see, in New
Yorker, July 28, 2003 pp. 48-59.
Shafer, Murray. The Tuning of the World, Random
House,1977.
Smith, Mark Michael. Hearing History, A Reader, University
of Georgia Press, 2004.
Stein, Barry, Meredith M. The merging of the senses, MIT
Press, 1993.
Stein, Barry. The handbook of multisensory processing, MIT
Press, 2004.
Tati, Jacques. Play Time 1967.
Thompson, Emily. The Soundscape of Modernity, MIT, 2002.
Available online at:
http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots
=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4ol
mp29sv9fd9eWTQb2W5dxs#PPA146,M1
Treib, Marc. Space Calculated in Seconds, Princeton
University Press, 1996.
Varese, E. Spatial Music, in: E. Schwartz and B. Childs,
Contemporary Composers on Contemporary Music, Da Capo
Press, 1998.
Veit, Erlmann. Hearing Cultures: Essays on Sound,
Listening and Modernity, Berg Publishers, 2004.
Vergo Peter. That Divine Order, Music and the Visual Arts
from Antiquity to the Eighteenth Century, Phaidon Press,
2005.
Vitruvius. De Architectura, The Ten Books on Architecture,
Dover Publications, 1960.
Wolvin, Andrew and Carolyn Gwynn Coakley. Perspectives on
Listening, Ablex Publishing Corporation, 1993.
Zuckerkandl, Victor. Sound and symbol, Music and the
external world, Princeton University Press, Princeton,
1969 [1956].
Zvonar, Richard. A history of Spatial music, Available at:
http://www.zvonar.com/writing/spatial_music/History.html
Bibliography on Building Materials:
Acoustic insulation materials:
http://www.alibaba.com/showroom/Acoustic_Insulation_Materi
al.html
Arad, Ron. Metal: Materials for inspirational design,
Rotovision, 2004.
Bell, Victoria Ballard. Materials for design, Princeton
Architectural press, 2006.
Beylerian, George M., & Andrew Dent. Material ConneXion:
the global resource of new and innovative materials for
architects, artists, designers. John Wiley& Sons., New
Jersey, 2005.
Brookes Alan J. and Dominique Poole. Innovation in
architecture, London ; New York : Spon Press, 2004.
Brownell, Blaine. Transmaterial, Princeton Architectural
Press, 1999.
Ford, Edward. The Details of Modern Architecture, vol. 1,
vol. 2, The MIT Press, 1990.
Kaltenbach, Frank. Translucent Materials: glass, plastics,
metals, 2004.
Leatherbarrow, David. The roots of architectural
invention: site, enclosure, materials, Cambridge
University Press, 1993.
Lefteri Chris. Wood: Materials for inspirational design,
Rotovision, 2004.
Lefteri Chris. Plastic: Materials for inspirational
design, Rotovision, 2004.
Lefteri Chris. Plastics 2: Materials for inspirational
design, Rotovision, 2004.
Lefteri Chris. Ceramics: Materials for inspirational
design, Rotovision, 2004.
Lupton, Ellen. Skin. Surface, substance and design,
Princeton Architectural press, 2002.
Materio. Material World 2: Innovative Materials for
Architecture and Design, Birkhauser, 2007.
McQuaid, Matilda. Extreme Textiles: Designing for High
Performance, Princeton Architectural press, New York,
2005.
Mori, Toshiko. Immaterial/Ultramaterial : architecture,
design, and materials
Braziller, 2002.
Riera Ojeda, Oscar. Materials, Gloucester, Mass. :
Rockport , c2003.
Weston, Richard. Materials, Form and Architecture, Yale
Univerisyt Press, 2003.
Workshop Grading
For the grade in the “A” range, the instructor will
have judged the student to have satisfied the stated
objectives of the course in an outstanding to
excellent manner; for the “B” range, in an above
average manner; for the “C” range, in an average
manner with C- being the lowest acceptable grade in
the Program’s Core courses; for the “D” range, in the
lowest acceptable manner in non-Core courses, and for
“F”, not to have satisfied the stated objectives of
the course. Grades will be assigned as A+ (90-100%),
A (85-89%), A- (80-84%), B+ (77-79%), B (73-76%), B(70-72%), C+ (67-69%), C (63-66%), C- (60-62%), D+
(57-59%), D (53-56%), D- (50-52%), F (0-49%) and ABS.
A grade of C- or better in each course of the
Architecture Core is required for a student to remain
in Good Standing. (Please refer to the Calendar
(page 56) for regulations concerning grades, appeals
and other program requirement information.)
Each grade will be based upon a comparison (1) with
other students in the course and/or (2) with students
who have previously taken the course and/or (3) with
the instructor’s expectations relative to the stated
objectives of the course, based on his/her experience
and expertise.
Readings and participation in class discussion 15%
Research on musical precedent, analysis and
presentation 15%
Soundscape notebook 15%
Project (drawings, models, writing, presentation):
1st pin up 25%
2nd and final pin up 35%
Student Conduct
Please refer to page 61 of the 2007-2008
Undergraduate Calendar for specific information
regarding Student Conduct and Academic Integrity
standards.
Academic Accommodations for students
You may need special arrangements to meet your
academic obligations during the term because of
disability, pregnancy or religious obligations.
Please review the course outline promptly and write
to me with any requests for academic accommodation
during the first two weeks of class, or as soon as
possible after the need for accommodation is known to
exist.
It takes time to review and consider each request
individually, and to arrange for accommodations where
appropriate. Please make sure you respect these
timelines particularly for in-class tests, midterms
and final exams, as well as any change in due dates
for papers.
You can visit the Equity Services website to view the
policies and to obtain more detailed information on
academic accommodation at
http://carleton.ca/equity/accomodation
ACCESSIBILITY
Students with disabilities requiring academic
accommodations in this course are encouraged to
contact a coordinator at the Paul Menton Centre for
Students with Disabilities to complete the necessary
letter of accommodation. After registering with the
PMC, make an appointment to meet and discuss your
needs with me at least two weeks prior to the first
in-class test or midterm exam. This is necessary in
order to ensure sufficient time to make the necessary
arrangements. Please note the following deadlines
for submitting completed forms to the Paul Menton
Centre: November 9th for fall and fall/winter
courses, and March 14th for winter term courses.
ACCREDITATION AND PROFESSIONAL EXPERIENCE
Carleton¹s B.A.S./M.Arch. Programme is reviewed for
accreditation by the Canadian Architectural
Certification Board. This status undergoes continual
review in order that the university program provides
the minimum standards for professional licensure.
With this in mind, aspects of this course’s
objectives and approach integrate some of the 37
"Student Performance Criteria" set by the CACB.
The
most recent edition of the "Guide to Student
Performance Criteria" is available from the main
office.
On Studio and, where appropriate, Workshop course
outlines, the following, in addition to the above,
should appear on course outlines:
Studio projects will be evaluated on the (1) strength
of design concept/concepts, (2) development and
articulation of the concept according to the
objectives set forth in the project assignment, and
(3) the clarity, craft and completeness of the work
submitted at the hand-in deadline.
Spray painting with aerosol spray paints, fixatives
and adhesives will not be accepted on ANY student
work. Student work using aerosol spray paints,
fixatives, and adhesives will not be evaluated.
All extension cords should be CSA approved.
Extension cords that do not meet CSA standards will
be confiscated.
RETENTION OF WORK (from University Undergraduate
Calendar, page 85)
Keeping a good portfolio is a most important part of
architectural education. A portfolio represents a
record of the student’s progress and design
experience over the years. It is an indispensable
requirement for any job application in the future. A
portfolio is started in first year and continues to
expand until graduation. The School, therefore,
requires that each student produce reductions
(normally 8 ½ x 11 inch reproductions, colour or
black and white, slides, and/or digital format CD) of
their work at the end of each term. One copy of the
work should be put in the student’s portfolio and the
other turned in to the instructor for retention in
the School’s archives. (This facilitates
retrospective exhibitions of work, accreditation,
publications and any future references for pedagogic
purposes.) Original work is the property of the
students, but the School retains the right to keep
work of merit for up to two years after the date of
submission. The School will make every effort to
preserve the work in good condition, and will give
authorship credit and take care of its proper use.
Health and Safety Regulations for the School of
Architecture.
 No Smoking  No Flammable or Combustible Solvents,
Paints, Gases or other Products
 No Aerosol or Pressurized Containers  No Power
Tools  No Soldering  No Bicycles  No Open
Flames  No Toxic Chemicals  Avoid Creating Tripping
Hazards  Avoid Creating Fire Hazards
 Keep Aisles, Walkways, Corridors, Doorways,
Stairwells and Fire Hose Cabinets clear at all times.
 Avoid Working Alone After Hours  Avoid Creating
Excessive Dust and Noise
In Case of Emergency, Dial Extension 4444 from any
Studio phone.
First Aid is available in the Main Office (Room 202)
or Workshop (Room 220) between the hours of 8:30 a.m.
and 4:30 p.m. Monday to Friday. First Aid Kits are
available throughout the School.