A Home That Doesn’t Feel Like Home: A Design Critique of the Music Building
Opening in 2023, the new Music Building marks a significant style departure from its predecessor, Ewell Hall. While the building makes improvements in utility, its design, as Portia Dai ’26 describes, leaves much to be desired.
Echooo-ooo-o. Maybe you’ve experienced the reverberation when you shouted into the abyss of a tunnel, or maybe you’ve eliminated the ringing in your dorm as it has become more and more lived in. Ironically, the Music Building shares this resounding quality: every step taken is amplified, announcing any given person’s ascension from the concrete stairs. For a building that houses some of the most expressive performances, it’s amusing that the Music Building, after one year of opening, is still almost as barren as when it debuted.
Exterior designs for the Music Building were approved by the William & Mary Design Review Board in 2017, planning for the expansion and/or renovation of the Arts Quarter — which encompasses The Martha Wren Briggs Center for the Visual Arts (containing a renovated Muscarelle Museum of Art), and Andrews Hall. The development of the Arts Quarter was planned to begin in 2018 after design plans were finalized, with phase one being the construction of the new Music Building. Though the plan was to debut the project in 2020, the Music Building did not open its doors until 2023.
After such a long-awaited renewal from Ewell Hall, which the Music Department has called home since 1955, the new Music Building has a lot to live up to. I think it falls short. Maybe it’s the gray walls and concrete floors, or maybe it’s the lack of decor. Whereas Ewell teems with evidence of life, the Music Building only looks like it’s in use when, well, it’s in use. The touches of life Ewell boasts that the Music Building lacks include bulletin boards, postings on walls, and furniture that looks comfortable to sit on (or any furniture at all). The bulletin boards of Ewell were bustling, with flier upon flier pinned and taped onto the board. The Music Building, on the other hand, has a singular board squared away in the basement with only a smattering of posts. I mean, really, what’s up with that? Last I checked, the Music Building hosts just as many — if not more — performances in its recital and concert halls.
In fact, as a frequent fan of these recitals, I know that the Music Building hosts events — even if I think the advertising of said performances could be more present. From mesmerizing performances from the College’s ensembles (William & Mary Symphony Orchestra, Middle Eastern Music Ensemble, and Botetourt Chamber Singers, just to name a few) to concert series and guest performances (Masterclasses, the Ewell Concert Series, Ukrainian music recitals), the Comey Recital Hall and the Concert Hall are home to many a production. If only these lively performances were accompanied by a livelier environment to call home.
PORTIA DAI // FLAT HAT MAGAZINE
Speaking of homes, the Music Building lacks a “homey” feeling. Where Ewell had a grand piano in the main lobby complete with a couch seating area, the Music Building has a display case of historic pianos stored behind glass. Even the metal benches built along the wall of the first floor seem threatening. If you’ve ever been to a playground with a metal slide, you know the feeling: it’s scorching when it’s hot, and it’s freezing when it’s cold. Though the benches aren’t located outside, shouldn’t the Music Building be attempting to emulate something more welcoming than the memory of — in my opinion — the most uncomfortable playground slide? I may not be a music major, but even I know I wouldn’t want to spend a substantial amount of time on those benches.
Now you might be thinking: Wait, the author of this article isn’t a music major? Then why is she spending so much time in the music building? It’s true. I’m not a music major, but my roommate is. And as the supportive roommate I am, I’ve spent a lot of time in the Music Building. One particular space that non-music majors might not explore is the practice rooms. Located in the basement of the building, the practice rooms are accessible only down a vacant hallway and past the instrument lockers, which really just look like cages. After this jarring and somewhat unsettling entrance, the practice rooms await. Despite my distaste for the hallway leading to the practice rooms, I’m actually quite partial to the utility of the rooms themselves. Outfitted with Yamaha pianos, each room is temperature-controlled and has a full-length mirror (What this is for I’m not sure, but my roommate tells me it’s to check “form”). Though the rooms are great for functionality, they don’t fare any better design-wise. The carpet is a dark gray and the walls are white — not much to see or get distracted by while practicing, but maybe that’s the point.
PORTIA DAI // FLAT HAT MAGAZINE
In fact, the Music Building isn’t all bad when it comes to functionality. Exploring the stairwells will lead you to the Phi Beta Kappa Memorial Hall and, if you walk far enough, Andrews Hall. For people frequenting any of these buildings, these tunnels are worth getting familiar with. I speak from experience: when it’s pouring rain or you simply want to avoid the above-ground foot traffic, the tunnels are fantastic. Another design element I simply can’t help but fall in love with is the enormous floor-to-ceiling windows. As someone who thrives on natural light, these windows make me jump for joy every time I’m in the Music Building. Now, if only there were comfortable seating options on the first floor, this would be my go-to study spot. The Music Building does, however, boast a different study spot: The Music Library. Located in the basement of the building, the Music Library has a few seating options, including green booths (finally, some color!), cubicle desks (think the “Zoom cubes” at the Earl Gregg Swem Library), and some tables. Though a great spot to get some studying done, the lack of windows can make time here seem obsolete.
What the Music Building lacks in character, it attempts to make up for in utility. The practical capabilities of the Music Building may not be different, or may even be better, than that of Ewell’s. However, where Ewell has the charming aesthetic of Old Campus buildings, the Music Building fully embraces the forgettable aesthetic of New Campus buildings. Ultimately, it’s the Music Building’s complete departure from “Old Campus aesthetics” that lends to my distaste of its design.
