Physical Tones by ayubhadi

Ayub Abd Hadi 1 3 0 8 7 8 5 5 ayubhadi@gmail.com

Physical Tones

Dataflow of Transient Spaces

Table Of Content

Pages

1.0 Sound 1.1 The Sense of Hearing 1.2 Concept On Tonalities

2.0 Collaborative Senses Installation 2.1 Singing Tiles 2.2 Invisible Tiles

3.0 Wearable Device 3.1 Prototype 1: Tectonic Sound 3.2 Prototype 2: Aurami 3.3 Prototype 3: Sonic Cones

4.0 Mapping Sound Data 4.1 Processing 4.2 Rhino, Grasshopper and Firefly 4.3 Spectral Frequency Display

5.0 Urban Speculation

6.0 Construction Technology 6.1 Structural Properties of Form 6.2 Construction Materials on Sound Tones 6.3 Environmental Acoustics and Psychological Experience

2 3 6 7 9 10 11 13 14 15

18 19 20

Development Outline

1.0 Sound :

1.1 The Sense of Hearing

1.1 Sense of hearing

Human ear range of frequencies, intensities and sound pressure.

What is Sound? Sounds are created when objects vibrate. The vibrations of an object (the sound source) cause molecules in the objectâ&#x20AC;&#x2122;s surrounding medium ( for human, usually the Earthâ&#x20AC;&#x2122;s atmosphere) to vibrate as well, and this vibration in turn causes pressure changes in the medium. These pressure changes are best describe as waves, and similarly to ripples on a pond when a rock is drop in. However the pattern of displacement of in sound travels futher compared to ripples. Human hearing uses a limited range of frequencies present in environmental. Average human hearing would be between 20 - 20,000Hz . Human hear across a very wide range of sound intensities. The ratio between the faintest sound humans can detect and the loudest sounds that do not cause serious damage to human ears is more than 1:1,000,000.

The sound intensity threshold of human hearing.

1.1 Sense of hearing

How Human Ear Works? Ear tuning to frequency is caused, in large part, by the way structure of a membrane changes along the length of cochlea. The cochlea in the human ears are like an acoustic prism in that its sensitivity spreads across different sound frequencies along its length. The narrower end of the base is stiffer and most sensitive to higher frquencies. The wider, more flexible end toward the apex is most sensitive to lower frequencies. The flexibility of the membrane translates the air vibration as information for the auditory nerve to process.

Cochlear Base

Direction

Cochlear Apex

The translation process of sound into information within the human ear.

1.1 Sense of hearing

Comparison how hear and sight process in identifying sounding objects

Hearing and Visual Identification The sense of visual and hearing is closely related to one another. A vast majority of eople are dependent on these senses to depict their surroundings and personal environment. It functions similarly, howerver there is a difference which makes hearing a unique sense. The position of owl is easily encoded by the visual system because of the owlâ&#x20AC;&#x2122;s image falls on different parts of retina depending whether it is to the left (A) or to the right (B) of the observer. In auditory system however the same receptors of the ear are activated regardless of the owlâ&#x20AC;&#x2122;s position. The possible explanation cause of this is sound is easily diffracted and doesnâ&#x20AC;&#x2122;t move in a straight line as compared to light.

1.1 Sense of hearing

Tonalities A sine wave is often called a pure tone. Complex sounds produce by instruments , human speech, and city traffic are describe as a combination of sine waves. A spectrum can best describe complex sounds by displaying how much energy, or amplitude, is present at multiple frequencies. Sounds with harmonic spectrum are caused by a simple vibrating source such as a string. Each frequency component in the sound is called “harmonic”. The first harmonic called the fundamental frequency , is the lowest component of the sound. All the other harmonics would be a multiplication of the fundamental frequency. The properties of sound determines the spectral shape of sounds. These shapes creates an identity for the source of sound. The same frequency played on various instrument produce different shape but same tone. However a musician would be able to differenciate the quality of tone by psychological sensation called “Timbre“. A listener can judge that two sound with the same loudness and pitch are dissimilar. Timbre quality is conveyed by harmonics and other high frequencies.

1.1 Sense of hearing

Sonic Events & Aural Architecture

Mapping local sound events of urban soundscape will enable the identification of existing traces left within the space or building. These traces highly relates to understanding the impact of surrounding environment towards the building decay and also the cultural and society of the urban context.

â&#x20AC;&#x153;Sonic Events are the raw ingredients, aural architecture is the cooking style, and as inseparable blend, a soundscape is the resulting dish.â&#x20AC;?

1.1 Sense of hearing

Space as an Acoustic Arena

The social consequence of an acoustic arena is an acoustic community, a group of individuals who are able to hear the same sonic events. Human whispers to make an acoustic arena small and private, and shout to make it large and public defining who is inside and is outside the zone. It is very similar to the Cocktail Party Effect. The cocktail party effect is the phenomenon of being able to focus one’s auditory attention on a particular stimulus while filtering out a range of other stimuli, much the same way that a partygoer can focus on a single conversation in a noisy room. This effect is what allows most people to “tune into” a single voice and “tune out” all others. It may also describe a similar phenomenon that occurs when one may immediately detect words of importance originating from unattended stimuli, for instance hearing one’s name in another conversation.

1.0 Sound :

1.2 Concept On Tonalities

1.2 Concept of Tonalities

Chladniâ&#x20AC;&#x2122;s Figures Ernst Chladniâ&#x20AC;&#x2122;s priciple allows creation of various patterns shapes when vibrate at a certain frequency. This enables a further relationship between visual and sound. The exploration of the shape of sand formed on the vibrating metal plate enable an exploration toward the tectonic form of sound.

1.2 Concept of Tonalities

Chladniâ&#x20AC;&#x2122;s Implementation The application of Chladniâ&#x20AC;&#x2122;s priciple create another set of various patterns shapes when vibrate on a rectangular spruce wooden plate. This shows how different materials vibrate when applied a specific frequency. The effect of materiality towards the vibration quality of tones.

1.2 Concept of Tonalities

Audible Frequency Set Parameter according to Musical Tones

1.2 Concept of Tonalities

Recording the sound flow of space in 25C Valentia Road , monitoring the volume of sound and pitching caused by the surround tools and interaction.

1.2 Concept of Tonalities

Mapping Tonal Values of Space

1.2 Concept of Tonalities

Emotional Tones Video Link

Understanding Binaural Tones On How It Impact The Human Spatial Experience of a Space

1.2 Concept of Tonalities

= Tone

= Annoying

= Tone

= Heartbeat

= Tone

1.2 Concept of Tonalities

= Car Engine

= Calm

= Tone

= Imbalance

= Uneasy

2.0 Collaborative Exploration : 2.1 Singing Tiles

2.1 Singing Tiles Installation

Touch, Gesture and Sound Installation Singing Tiles Video Link

Grace

Ayub

Shravan

Collaboration â&#x20AC;&#x153;Singing Tilesâ&#x20AC;&#x153; Touch, sound and body gestures installation

Hearing

2.1 Singing Tiles Installation

Touch

“Sound is invisible but has the power to change the space characteristics we occupy“ Schulz-Dornbug, Julia, Art and Architecture New Affinities, 2000 “I think that buildings always sound. They can sound unemotional too“.Zumthor, Peter, Atmospheres,2006

Ayub Abd Hadi

“(...)while the tactile space separates the observer from the objects, the visual space separates the objects from each other (...) the perceptual world is guided by the touch, being more immediate and welcoming than the world guided by sight.” Zumthor, Peter; Thinking Architecture, 2005

Grace Wong Kee Weung Sharavan Vaidyanath

2.1 Singing Tiles Installation

Touch , Texture Speaking Tiles, objectÂ´s texture

Sound Frequency Balancing of tones and frequency

Individual Development from week 3

Touch, body gesture Body movement in relation of badminton sports

2.1 Singing Tiles Installation

Combination of individualÂ´s collection of hard data

The idea of varying value of frequency can create different tonesÂ´octave.

2.1 Singing Tiles Installation

Grace´s idea of capacitor sensor’human´s reaction towards different material though touch.

Shravan´s idea of accelerometer reading in relation to the arm´s position when playing badminton.

2.1 Singing Tiles Installation

Laptop - Arduino Coding Programme

Construction of the touch-sense installation. â&#x20AC;&#x2DC;Ingredients neededâ&#x20AC;&#x2122; 1. 20 meters electrical wires 2. Arduino Uno 3. Resistor 2.2 MegaOhm 4. Resistor 220 Ohm 5. Accelerometer 6. 8 Ohm speaker 7. Jumper wire 8. Conductive Thread

2.1 Singing Tiles Installation

Playing with touch, body gesture and sound note

2.1 Singing Tiles Installation

The frequency our touch-sound installation was built based on the idea of body gestures, touch and sound. Depend on the movement of the feet and hand on th y axis, the installation was programmed to create different octaves of sound based on the note c, d, e, f, g,a,

2.1 Singing Tiles Installation

Bending Bamboo Sheet

Streching Leather

Popping Bubble Wrap

Bending Matt Knocking Clay

Knocking Fluffy Carpet Knocking Acrylic Base

We also explore different method of touching on the materials such as knocking, bending, stretching and popping. The different act on the materials shows different rhythm of friction, creating an interesting frequency Spectral Display.

2.1 Singing Tiles Installation

Materialâ&#x20AC;&#x2122;s touch in relation to its sound frequency The diagram below study the different frequency of certain materialâ&#x20AC;&#x2122;s surface when the hand sliding through the material. The brighter the colour of the frequency Spectral Display the material itself produces higher frequency when the hand sliding through it. Different materials also show different rhythm of friction when hand interact with it.

Invisible Tiles Video Link

2.0 Collaborative Exploration : 2.2 Invisible Tiles

Collaborative Project on the Sense of Touch, Gesture and Sound Installation II

Grace

Ayub

Shravan

Collaboration “Invisible Tiles“ Touch, sound and body gestures installation

2.2 Invisible Tiles Installation

THE FLOW OF THIRD FLOOR STUDIO (ABERCROMBIE)

2.2 Invisible Tiles Installation

Sound Rocker Video Link

2.2 Invisible Tiles Installation

Invisible Tiles Live Video Link

2.2 Invisible Tiles Installation

3.0 Wearable :

3.1 Prototype 1 : Tectonic Sound

Prototype 1: Tectonic Sound

The creation of shapes, an imitation of Chladniâ&#x20AC;&#x2122;s pattern was achieved by converting frequencies to electromagnetic waves with the use of an inductor. A methodology of mapping sound through materials, in this case a CD which in this case is polycarbonate. 1. Amplifier 2. Inductor 3. CD 4. Speaker 5. Mobile Phone

3.1 Prototype 1 : Tectonic Sound

Transferring Vibration of Sound

Using voice as a clear recognition of frequency.

Recording the voice using a H2N Zoom recording device and channel it as an input source.

Transfer input to a vibration motor to create a rhythmatic movement of sounds.

Capturing the echo enable the hearing back of the speech by the same rhythmatic vibration of surfaces. Vibration of surfaces creates echo in the air.

3.1 Prototype 1 : Tectonic Sound

Exploration Study An exploration study was carried out to study the sound and tone of materials across certain action towards it. The sound is required to go amplification and equalisation before it could give sufficient output to vibrate the plate. The results varies according to the action on the material and type of material used to create sound. A CD plate made from polycarbonate had been used for this experimentation. Repeating the same experiment but on different material of plate will produce another set of results due to flexibility material .

Pre-Recorded Sound of Material is played and split into 2 output - inductor and speaker.

Amplified sound will create electromagnetic waves between the attached magnets and vibrate the plate.

3.1 Prototype 1 : Tectonic Sound

Sliding Carpet 1a

Sliding Carpet 1b

Sliding Carpet 1c

Bending Leather

Knocking Acrylic

3.0 Wearable :

3.2 Prototype 2 : Aurami

Absorption & Reverberation of Sound in Texture

Absorption of texture depends on the density of the material. Air pockets determine the diffusion and absorption of soundwave.

Microscopic details of sound insulation indicates the difference of texture within materials. The sound absorption varies according to the intensity of membrane and air pockets. Soundwaves travel into the material, filtered by the membrane and diffused according to the texture. The repeated process is controlled by the number of air pockets in the material which dampening the impact of vibration thus reducing the noise. Glass Fibre

Mineral Wool

Partial Reticulated Foam

Fully Reticulated Foam

3.2 Prototype 2 : Aurami

The concept is to increase the amount of bubbles to filter and absorb sound by increasing the travel time and distance of vibrations using the membrane and air pockets.

The wearable is a device that would response to noise intensity of the cityscape. The texture of the device would react to noise, filtering existing sound pollution to the user thus reflecting and diffusing to existing cityscape. The network of pedestrians itself becomes an acoustic insulator controlling the soundscape of urban fabric.

3.2 Prototype 2 : Aurami

Wearable Prototype 2.0

Sound Cone Prototype

An interchangeable prototype sound filter 1 enables the users to hear sound but at the same time response to the surrounding intensity of noise. Opening and closing blocking the input depending on the volume level of soundscape. Prototype filter 2 on the other hand focus on creating various texture and air pockets within the paper folds to filter and diffuse soundwaves. The sound cone funtions to enhance an individual sensory experience of a space.

Prototype Filter 1

Prototype Filter 2

3.2 Prototype 2 : Aurami

Wearable Prototype 2.0

Side View of the Sound Filter

Front View of the Sound Cone

3.0 Wearable :

3.3 Prototype 3 : Sonic Cones

Sonic Cones Operation Video Link

The device breaks down sound to rhythmic movement in relation to acoustic cues, in other words the identification and intonation of a space. Listeners will notice 3 different input of sound from the same source of environment. It excercise the mind to become more conscious based on the timbre principle. Tune into a specific tone which marks the identity of a soundscape.

3.3 Prototype 3 : Sonic Cones

Tune In - Sounds Using Timbre

As previously mentioned, “Timbre” is the psychological sensation by which a listener can judge that two sound with the same loudness and pitch are dissimilar. Therefore the timbre quality is conveyed by harmonics and other high frequencies. When a sequence of tones that have increasing and decreasing frequencies is played, tones that deviate from the rising/falling pattern are heard to stand out of the sequence. (Heise and Miller, 1951) When the tones are simple sine waves, two streams of sound are heard without overlapping pitches , one stream includes all the high tones and one includes all the low tones. However, if harmonics are added to one ot the sequences, it will create a richer and more than 1 timbre. Two patterns are heard as distinct (van Noorden, 1975). Example of two different timbre which produce distinct pattern would be such as when a piano and guitar played at the same time. As for within the same group of timbre would be the term “Melody” and “Bass” in a single instrumental music. This principle is the reason why listeners are able to pick out the melody played on a single instrument. In other cases would be how people are able to tune in a conversation within a noisy environment.

3.3 Prototype 3 : Sonic Cones

Device Development

Functionality The function of the device was based on the mechanics of nature as sound buffers. Microphone collects the audio dataflow which is amplified and then converts it to rhythmatic movement of the propellers. It reacts to the existing soundscape where most sounds will produce more rotation. The rotation of the propeller may control the air flow in or out of the cone thus creates a filteration of soundwaves with manipulation of air pressure. Sonic cones headgear will create a responsive and independent soundscape conscious within the cones itself. This could increase the awareness and appreciation of users towards urban environment

3.3 Prototype 3 : Sonic Cones

Intersection between modern andbetween traditional Intersection modern acoustic worlds , worlds, then and traditional acoustic filtered andand interiorized then filtered interiorized

E X P E R I E N C E

Diffusion and filteration Diffusion and filteration of sounds towards of sounds towards understanding the understanding the urban urban concious. concious

F U N C T I O N S

Regioning acoustic arena Regioning acoustic arena in in creating a community creating community shares that ashares the that ability the to hear a sonic event. toability hear a sonic event.

Sound relationship Sound relationship of interiorof and interior andspace. exterior exterior space.

How bodies of movement Howwithin bodies offlow movement within space flow space translate a received translate a received tactile experience into spatial tactile experience into auditory movement. spatial auditory movement

Sonic events within urban Sonic events within urban soundscape on social, soundscape on social, political political and culture of and culture of a city. a city.

Aural Architecture Speculation AURAL ARCHITECTURAL Possibilities SPECULATION POSSIBILITIES

Utilization of acoustic Utilization of acoustic information in information in feasibility of site feasibility of site navigation & exploration. navigation & exploration.

4.0 Mapping Sound Data : 4.1 Processing

4.1 Processing

Audio Data 2 ways of analysing sound frequency data which is through waveforms for simple tones or sound spectrum for more complex audio of an environment. The human voice produces sounds that are mostly in the 2504000 Hz range, which likely explains why people’s ears are also the most sensitive to this range. Reducing the midrange creates a “sonic space” in which the dialogue can be heard more easily. Music instead had higher range of frequency. Musical sounds typically have a regular frequency, which the human ear hears as the sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The pitch is usually only the lowest, strongest part of the sound wave, called the fundamental frequency. Every musical sound also has higher, softer parts called overtones or harmonics, which occur at regular multiples of the fundamental frequency. The human ear doesn’t hear the harmonics as distinct pitches, but rather as the tone color (also called the timbre) of the sound, which allows the ear to distinguish one instrument or voice from another, even when both are playing the same pitch.

Processing Processing is an open source programming language and integrated development environment (IDE) built for the electronic arts, new media art, and visual design communities with the purpose of teaching the fundamentals of computer programming in a visual context, and to serve as the foundation for electronic sketchbooks. Processing act as a tool to get non-programmers started with programming, through the instant gratification of visual feedback. The language builds on the Java language, but uses a simplified syntax and graphics programming model.

Processing Sound

An study of sound was conducted using processing to final values of sound in terms of numbers which we then normally see line graphs in visual equalisation. The lines simulates a series of data numbers for each miliseconds of the sound playback. A range series of numbers represents the frequency bandwidth. When all the data colected it will shows the sine wave graph of the soundscape. This method allows the collection of raw data of sound. However it gives excessive amount of figures from sound. Therefore a filteration would be required to get a more simplified result.

4.1 Processing

Processing Result

The diagram shows the amount of soundscape data collected within one minute .

4.0 Mapping Sound Data : 4.2 Rhino, Grasshopper & Firefly

4.2 Rhino, Grasshopper & Firefly

Rhino, Grasshopper & Firefly Time Of Interception : Minute 0 Interval : 5 secs

Time Of Interception : 2 minutes 45 secs Interval : 5 secs

Time Of Interception : 5 minutes 25 secs Interval : 5 secs

An integration of using Rhino with Grasshopper and and Firefly plugin to analyse and study the physical form of sound. Firefly is used to detect the live feed of sound from the microphone. At a set of certain specified range of intervals it will map out and record the frequency range into Rhino.

4.2 Rhino, Grasshopper & Firefly

Rhythm of Frequency Change Through Time

4.2 Rhino, Grasshopper & Firefly

Texture & Frequency Curves

Plane of Frequency Curves

Loft Surface Texture 1

Loft Surface Texture 2

Lofting the lines into 3d in order to understand how sound frequencies create form and texture. The shape create a pattern which could possibly be applied to surface texture. The surface would than respond differently to existing soundscape compared to a basic flat concrete wall surface. High frequencies of sound will be reflected and diffused with small bumps on the surface texture. Low frequencis would not be easily detect this small bumps on the texture. It however will just be reflect normally on the surface without being diffused. The possibility would be in finding the range size of these bumps to the range of frequencies that its capable of reflecting and diffuse in order to get the certain quality of tone in a space.

4.2 Rhino, Grasshopper & Firefly

Range of Frequency Curves Sound Phase 1 - Phase 3

Sound Phase 1 - Phase 3

Sound Phase 4 - Phase 6

Sound Phase 7 - Phase 9

Sound Phase 10 - Phase 12

Sound Phase 13 - Phase 15

4.0 Mapping Sound Data : 4.3 Spectral Frequency Display

4.3 Spectral Frequency Display

Filtering Noise from Pure Tone

Three Channel Equalizer for Arduino

Controlling certain level of frequencies from a soundscape allows the listener to be aware of the environment thus enable them to filter which they consider as noise. Listeners are able to hear what they perceive as melodies and removing those which makes them uneasy.

Spectral Frequency Display of Sound

1. Headphones 2. 7-Channel Equalizer 3. Speaker 4. Inductor 5. CD 6. Amplifier 7. Microphone

4.3 Spectral Frequency Display

Soundscape Journey in London

Composite Spectograph Diagram of London Soundscape

London Spectograph Analysis Diagram indicates the sound mapping of a journey between London Bridge Station to Royal Festival Hall via Jubilee Line. In the first half of the journey, high volume of noise is recorded from the surrounding environment. Extensive low and high frequencies causes the far of device to pause at certain intervals. Filtering and controlling the sound on the second hald of the journey creates a more consistent rotation of the fan thus create a better experience of the journey.

Responsive Propellar to Sound

4.3 Spectral Frequency Display

Urban Resonance

An experiment carried out walking towards the city centre of Oxford from Brookes University. The aim is to investigate the sonic properties of an urbanscape. Understand how architecture of the urbanscape resonantes with its inhabitants through audio. The result of spectral frequency display was recorded.

5.0 Urban Speculation

4.3 Spectral Frequency Display

4.0 Urban Speculation

5.0 Urban Speculation

Mapping Resonance The effect of experience by successive movements through the city. The dynamic sound perspective in the urban environment, such as sonic diversity and acoustic ecology, are still very much neglected aspects in planning and architectural design . All in general are unaware of the importance of sounds for how we perceive the quality of a place and a good living environment. Thomas Elmqvist How Sound Travels Within City

5.0 Urban Speculation

Individual

Enhances the sense of hearing thus enables the focus on a certain aspect within a journey.

Group

Creates a individual barriers from excessive surrounding noise but allowing certain tonalities for communication amongst users.

Network

Considered each users as a node or tone within urban soundscape, it may create a more rhythmic and melodious environment provided filtering the intrusive noise . The aim to control sound diffusion and dispersion in context of metropolitan city when noise pollution exceeds other zones.

5.0 Urban Speculation

Soundscape does not directly affect the criteria of a space however certain tonalities will trigger moments which will then reflect the individual social consciousness and collective memory of a space.

Significant tones with meaning may only represent memories which will create a conditional response to spatial expression, identity and emotions.

5.0 Urban Speculation

Rhythm is specifically related to time and space. Rhythmic movement of flow space defines the perception of daily life rhythms of the city. Parallel to rhythm or tones of a speech, the perception is to derive the meaning of expression as well as the speakerâ&#x20AC;&#x2122;s identity and emotions.

5.0 Urban Speculation

The aim of the wearable and project is to create comfort zone by controlling and filtering noise while creating a dialogue between the listener and the environment. This is to understand the connection between the past and present soundscape in conjunction with resonant memories of listeners. It should provide multiple pieces of information to be obtained within a short period of time. The information should be easily recalled by presenting an example of similar information.

5.0 Urban Speculation

My Project will perceive the physical and spatial ambience of present spaces and using existing filtered tones to provoke memories and emotions experience of the past. It should also be able to identify and create transitional zones and regions of sound displacement in a site. Intention is to further the possibilities in interpreting the decay or construction of a city through flow of time.

5.0 Urban Speculation

In response to

gaining ambient collection memories from sonic events,

it may

create a spatiotemporal coherence of the past and speculation of the future characteristics within urban context.

As a result,

not only using the sense of sound in forming perceptual relationship between architectural space and surrounding environment but also the relationship between its future and past.

Enoshima Bugs

Waterfall

Yamato Period (300 - 550)

Samurai Emergence Merge of Shinto & Buddhism

Asuka Period (550 - 710)

Nara Period (710 - 794)

Heian Period (794 - 1185)

Kamakura Period (1185 - 1333)

Edo/Tokugawa Period (1603 - 1868)

Modern Japan (1868 - Current)

Nanboku-cho Period (1394 - 1596)

Bonsho Bells

Railway Train

Muromachi Period (1338 - 1573)

Modernization & Tranportation

War Siren

World War II (1939 - 1945)

Meiji Period (1868 - 1912)

Taisho Period (1912 - 1926)

Showa Period (1926 - 1989)

Railway Signal

Japanese Invasion of China (1937)

Heisei Period (1989 - Current)

Buddhist Temple

Inari Shrine

Shinto Shrine

660 B.C. Amaterasu

Inari

Ame No Uzume

Sarutahiko

Nara & Heian Period Buddhism

-dera

-in

-ji

Tokugawa Ieyasu

Edo Period

Meiji Period

Meiji

Current

Kiyomizu-dera

Kōtoku-in

Enryaku-ji Toyokawa Inari Shrine

Fushimi Inari Shrine

Meiji Shrine

Nikkō Tōshō-gū

Izanagi

Izanami

Tsukuyomi

Susanoo

6.0 Construction Technology : 6.1 Structural Properties of Form

6.1 Structural Properties of Form

Frequency & Structure Frequency is often associated with structural properties of things especially in bridges and high-rise buildings. Itâ&#x20AC;&#x2122;s often used to describe the vibration of things rather than the sound it produces. The level of vibration differs according to fixture point, a single fixture or cantilever will higher load distribution and displacement than a bridge which has 2 fixture points. In Quantum physics explains it explain that each material has its own frequency and constantly vibrate. Increasing the frequency of vibration will however change physical state form structure of the materials. Therefore achieving resonance in material and increasing it may result in its structural failure. A simple scenario which easily describes this is shattering of glass by an opera singer. A bigger scenario would be between the frequency of earth and building. Potentially high-rise are affected with additional wind frequency which could sway the building. If the structure achieves the same frequency of the earth movement then the potential resonance may cause the building to collapse. Current strategy applied is to add dampeners in the building as a safety factor to reduce the vibration. However there are under explored areas such as looking into construction systems or details that reduce vibration. If massively applied in high-rise structure it could possibly make big difference in the building frequency as sound filtration techniques reduce the vibration of things.

6.1 Structural Properties of Form

Tones In Cable Tension Sound of tone is used to measure the cable tension in structures. In order for each cable to be at constant tension on site, the vibration sound of the cable is always tested. Bridges with same cable tension would have a certain tonal value. However what would it mean if different thickness of cable is used to achieve the same tension? It would create a different tonal value. Similarly to guitar strings where each strings with different diameter produces different tones. Different length of the string would affect the vibration frequency therefore would create different sound tones. So variation in length and depth of cable structure can be used to create various tones in bridges with the same tension.

6.1 Structural Properties of Form

Calatrave Structural Bridges

Calatrava often use cable structures in his works especially the iconic bridges. Looking at some selected bridges and analysing them, Calatrava uses similar principle to how stringed instruments are constructed. He also use different thickness of cable to counter the tension on a structural element to avoid buckle. The structures of the tensile cables are placed in a sequence of rhythmic pattern of the users. When single component of the system is held firmly in place by cables ideally it doesnâ&#x20AC;&#x2122;t vibrate. However if it does vibrate at a certain frequency, the connecting cables would be affected with the vibration and may produce sound frequencies or vice versa.

Bridge structural study

Placement of component with cables.

6.1 Structural Properties of Form

Cable Structure Joints Tensile cable connections combine several building elements with tensile structure. They connection system can act as a dampener to reduce the frequency vibration of cables.

6.0 Construction Technology :

6.2 Construction Materials on Sound Tones

Material Sound Reverberation Sound transmission is various according to the thickness and density of materials. Glass has the most transmission and reverberation capability. However it makes them fragile and vulnerable to resonance. Concrete on the other hand minimally reverberate when in contact with sound vibration. The internal reflectance of sound with concrete is higher than the transmission. An enclosed space with concrete walls will produces a big amount of echo similarly if enclosed by glass panels. However a glass structure will create an additional sound of reverberation on the external. As for insulation materials they works in an opposite direction. Sound is absorb within the material and less reverberation occur internally and externally which makes the space sound proof.

6.2 Construction Materials on Sound Tones

Reverberation is the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space â&#x20AC;&#x201C; which could include furniture and people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. Reverberation is frequency dependent. The length of the decay, or reverberation time, receives special consideration in the architectural design of spaces which need to have specific reverberation times to achieve optimum performance for their intended activity. In comparison to a distinct echo that is a minimum of 50 to 100 ms after the initial sound, reverberation is the occurrence of reflections that arrive in less than approximately 50ms. As time passes, the amplitude of the reflections is reduced until it is reduced to zero. Reverberation is not limited to indoor spaces as it exists in forests and other outdoor environments where reflection exists.

Insulation Sound Reverberation Acoustic insulation is materials with the purpose of soundproofing. It is by any means of reducing the sound pressure with respect to a specified sound source. There are several basic approaches to reducing sound: increasing the distance between source and receiver, using noise barriers to reflect or absorb the energy of the sound waves, using damping structures such as sound baffles, or using active anti-noise sound generators. The microscopic detail structure of these sound insulation materials indicates the functionality of micro air pockets in absorbing more sounds. Therefore less sound is transmitted through insulation material. A cross relation between membrane and air pockets potentially control the transmission and reverberation across a wall. In a larger scale, an application of this principle in building construction system could reduce the noise between spaces rather than the addition of sound proofing insulation throughout the whole building. The construction design itself controls the sound of a building.

Construction Materials on 6.0 Construction Materials on6.2Sound Tones Sound Tones

Sound Transmission

6.2 Construction Materials on Sound Tones

Airborne & Structureborne Sound Airborne and structure borne transmission are referred as processes of acoustic transmission in a building which sounds are transferred from on part of a building to another. Airborne transmission is a noise source in one room sends air pressure waves which induce vibration to one side of a wall or element of structure setting it moving such that the other face of the wall vibrates in an adjacent room. Structural isolation therefore becomes an important consideration in the acoustic design of buildings.

Highly sensitive areas of buildings, for example recording studios, may be almost entirely isolated from the rest of a structure by constructing the studios as effective boxes supported by springs. Air tightness also becomes an important control technique. A tightly sealed door might have reasonable sound reduction properties, but if it is left open only a few millimeters its effectiveness is reduced to practically nothing. The most important acoustic control method is adding mass into the structure, such as a heavy dividing wall, which will usually reduce airborne sound transmission. Adding breaks within the wall also reduce the vibration impact thus improving is a sound barrier.

Sound Filter Floor Connection Detail The following images are connection details study on current strategy of airborne and structure-borne sound in floors. Ideally a break or gap in the connection system would break or dampens the sound transmission between floors of adjacent room.

6.2 Construction Materials on Sound Tones

Sound Filter Wall Detail The following images are connection details study on current strategy of airborne and structure-borne sound in walls. Ideally the fixture of wall panels should not be linked directly with nails. A careful consideration of fixture system would break or dampens the sound transmission between walls of adjacent room.

Sound Filter Structure Connection Detail The following images are connection details study on current strategy of structure-borne sound in beams and columns. Junctions and penetration of structural elements through the buildings easily transmit sound from one space to the other. Vibration is felt in the penetrated spaces when there is sound impact on one point of the structural element. In order to avoid it, the structural columns or beams are enclosed with partition and cavity between them. For a steel which passed through a blockwork, plasterboard is recommended to seal the junction which will dampen any vibration of the structural element.

6.2 Construction Materials on Sound Tones

Sound Filter Floor Texture Detail

The following images are connection details study on current strategy of air-borne sound in floor texture and finishes. Texture of floor finishes is commonly refer to control the impact isolation which is the prevention of foot-fall noise, chair scrapes, and transmission of other noise resources as a result of direct impact with the building structure. The left images are some examples of floor system used with selected floor finish to reduce structure-borne sound transmission.

Sound Filter Wall Connection Detail The following images are connection details study on current strategy of structure-borne sound in wall junctions. The are equally peformings T-junctions and connection details as sound insulation system.

6.2 Construction Materials on Sound Tones

Wall Sound Dispersion

The following images are showing how construction brickwall with openings act as a sound buffer. The different measurement and juxtaposition of the openings result in different pattern of sound. 4 experimental sketches to analyse the reverberation of sound in wall construction system The 4 alphabetical representation of sound is to describe the level of volume as well as dispersion of sound from the main source. In terms of volume, the increment of Db starts from the least which is Sound D, followed with C,B and A. As for sound reverberation and frequency, a further detailed analysis is required.

6.0 Construction Technology :

6.3 Environmental Acoustics and Psychological Experience

Environmentally Natural Buffer Techniques Trees naturally work as sound or noise buffer. Instead of isolating or block out sound, it softens the noise from a busy traffic to a calm residential area. Trees reduce perception of noise is by creating a visual barrier between the source and the hearer. It has been suggested that people are less conscious of noise if they cannot see the source. Trees and shrubs produce a masking effect through the rustling of leaves, the movement of branches in the wind, the sounds of birds, insects and other animals. Foliage appears to be the most efficient part of a tree for scattering sound and it seems that large leaves are more effective than small leaves. Low shrubs and/or hedges along the edge of a group of trees can improve sound reduction, particularly those on the side nearest the sound source. It is suggested that planting a variety of both hedges or shrubs and taller trees to create a wall of foliage from the ground up for maximum effect of the buffer.

6.3 Environmental, Acoustics and Psychological Experience

Environmental Acoustic Sculpture A different way of adding acoustic absorption to a space is in the form of an acoustic sculpture. The key requirement here is to ensure that the sculpture has a suffcient surface area to accommodate the required levels of treatment, such to affect the room acoustics of a given space. Plant and shrubs also act as sound absorbers in a space,

Acoustic Sculpture

Plants as absorber

Ventilation Vs Sound Dispersion Sound is easily transmitted with the pressence of air. The images are to analyse the pattern between ventilation and sound dispersion. The aim of the wall system is looking at how to achieve maximum ventilation in a space with minimal intrusion of noise. By any means sound itself uses the medium of air to transmit. So to control air movement means to control sound dispersion as well. Looking at these 4 series of brickwork system, the potential maximum ventilation would be the top right . The bottom left image also shows high ventilation but it also allows high amount of noise intrusion in the space.

Spatial Planning Sound Zone An ideal solution to provide individual areas for groups to work together is a space where sound peformance is neccessary for communication. The first layout encourages non-educational interaction between square tables which loses group focus. Instead it will increase noise level as communication takes a larger distance. The secound circular open plan layout provides a better education communication peformance. An interlocking open plan allows the communication of groups . However the drawback is tutors are required to move around the tables and the difficulty to address a larger group.