2. In tune by Felix Hansson

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Felix Hansson Tomas Tägil John Ross

AAHM01 - Degree project in Architecture Lund School of Architecture, 2013

Concept

Sound Department

Program of the site

Physio acoustic

Archio acoustic

Echo acoustic

Divided into tree faculties

A valve connecting the faculties and creating a public interior path

The Valve is adjusted to improve acoustic and visual properties and to existing physical obstacles

Opera

Sound volumes connected to the tree faculties penetrates through the Valve and gets visually and acoustically present

Functions connected to Malmรถ Opera breaches through the Valve

Exterior focus points are created through stripes connected to the sound volumes in the Valve

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Sound devises

Recording microphones membranes

Ribbon microphone

and

acoustic Condenser microphone Recomposing shell

Sound stripes

An acoustic part of the public square. In various of materials improving acoustic phenomenon

Sound boxes

Acoustic panels

Volumes shaped by acoustic properties connected to the three faculties and to the public interior path.

Echo Material Light

Valve

The public interior path with a wide range of acoustic experiences

Sound Vibrations

Sound Department

Recording by condenser Microphones

Supporting facilities to the three faculties with office, research and meeting rooms.

Heat

Connection to Opera

An expansion of functions in the opera. Office, workshop and meeting rooms are penetrating through the Valve.

Acoustic experience in volumes

Opening in structure Entrance to the Valve

The journey of sound in the human body

Control room 1

Physio Acoustic Faculty

vestibule

Archio Acoustic Faculty cochlea muscle

vestibule Stirrup muscle

inner ear

Hammer muscle cochlea

A sound source is generating sound ways in the air

These are registered by the human ear and through different chambers. The sound acts on tiny stirrup and hammer muscles, stimulating the cochleae and the vestibule.

Eco Acoustic Faculty

These are converted into electrical inputs that are sent to the brain. The inner ear stimulates our brain and energizes our body.

The electrical inputs are reaching all 3 parts of the human brain, where they are achieving different purposes.

1.Cortex Unconscious reactions to the acoustic input

2.Mid brain Understand and historically trace the acoustic input

3.Brain stream Rudimentary physical reactions to the acoustic inputs

Extended office facility connected to opera administration Site

Meeting room connected to existing opera function. Space possible to use by the opera exclusively.

The journey of sound in Department of Sound

Front Plate moving due to movement in air

Back Plate

Sound Waves

Battery

Complex electrical output indicating sound

The movement in air is translatet into electrical imputs

Complex electrical output indicating sound

Eletric supply

A sound source is generating sound ways in the air

These are registered by the urban â&#x20AC;&#x153;earâ&#x20AC;?, A combination of microphones and focusing membrane.

Extended facility connected to existing workshop space

These are converted into electrical inputs that are sent to the sound department.

The electrical inputs are reaching all 3 faculties. Through these parts the sound is being heard, understood, remembered.

Eco Acoustic Qualities of the sound.

Archio Acoustic Historical studies of the acoustics.

Physio Acoustic Medical study and treatment with the acoustic.

Axonometric drawing

Urban Concept

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The location of the site is in the back drop of Malmö Opera. The existing neglected conditions are a product of earlier static organisation of large public buildings around the site. A organisation with a strong direction only facing the north. This is the direction towards the old city centre of Malmö and has been the historic way of viewing the orientation of the city. But along with the development of Malmö this orientation has become irrelevant and in many ways incorrect.

As a product of the expansion of new public functions in the city, new connections have been made in the area. A distinguished west-east orientation has been accentuated and the earlier relations between backside and front-side are now misleading.

In the proposal the backsides of the opera building becomes a new front side, towards the expanding south side of the city. This shift of orientation in the city is already altering and the location of the new metro station, the new entry to the shopping mall “triangeln” and the new “konsttorget” are all clear indications of this on-going processes - a process of redefining the public nodes and direction that the Sound Department will be a part of.

Connection to city centre of Malmรถ

Housing

Housing Bike and pedestrian path

Piazza %

Music pratice

Opera entrance

Office

Margistratsparken

Foyer

Opara park

Triangeln entrance

Housing

Intiman

Opera staff enterance

Malmรถ Opera

Housing Workshop

Delivery Opera and Sound Department

Housing

Triangeln shoping mall

Housing

Sound Department entrance

opera workshop enterance

Housing

Sound Department entrance

Konsthallen

Art exibition

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Expantion of old backside

Under construction

"Konsttorget"

Under construction

Malmรถ old Stadium

e Garage entrance

Bike and pedestrian path

New Triangeln entrance

Bike and pedestrian path

Stadium entrance

Metro station

Indoor sport facility Connection to south side of Malmรถ

Outdoor sport facility

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Scale 1:2000

Sound Department of Malmรถ

Pildammsparke e Pildammsparken Connection to south side of Malmรถ

Site strategy

To create a sustainable structure at the site, the existing movements of people and physical barriers are taken in consideration. A continuation of existing cycle and pedestrian path are made, but these movements are in the project being shifted and manipulated by the acoustic responses at the site. New functions and volumes are penetrated through the Valve and become visually and acoustically present to the public path.

Office Performance Workshop

The site, a backdrop of two large structures: "Malmoe Opera" and "Malmoe old stadium"

Proposed connections with existing opera

Car path Delivery to opera

Bicycle path Pedestrian path

Energy harvest Bicycle path

Sonic Sonic

Proposed connections with existing stadium

The Valve, a public structure

Sound chambers connected to Valve

Supporting facilities to the three faculties

The aesthetic languish of the additional building is in direct contrast with the existing structures at the site. The building is a product of making the acoustic implications a superior property of the architecture, and therefor are the existing rectangular aesthetics of the existing buildings undesirable.

Path at the site

Sound qualities at site

structure and the existing opera.

The exterior area outside the Valve is consisting of a numerous of stripes connected to the Valve. These are generating several acoustic phenomenon allowing the visitors to experience diverse acoustic occurrences, such as reinforces frequencies, phase shifts and false Some parts of the project works as public spaces while others are echoing. fragments of the connecting faculties. The supporting facilities connected to the three faculties are inferior the sound structure and placed on a grid of 4.1 meter times 4.1 meter. This gives them an architecturally altered expression and a visual understanding of volumes not created through an acoustic implication. These volumes are connected to both the sound

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The journeys of acoustic Valuable and unique sound

Sound waves

Sound captures

Acoustic control room

Valuable but non unique sound

Sound bank

Non valuable high velocity sound

Sound reconstruction

Sound harvesting

Energy loading

Energy exchange

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The boxes are shaped to create complex and dynamic sound reflections. The volumes are made to enhance specific sound phenomenon where the particular output is depending on the connecting faculty. The sound of a single event is going to arrive to the listenerâ&#x20AC;&#x2122;s ears several times as determined by the different path lengths. These different sound paths are containing data about the physical space and create an acoustic notion of the volume.

Speakers in sound volumes Physio Acoustic Faculty

Speakers are placed at two or four walls to create static sound situation with enhanced frequencies. The dimensions are controlling the suitable frequency. Since the wave length regulating the properties of the frequency so will the distance between the four physical obstacles determinate the suiting tune.

Eco Acoustic Faculty

Speaker placed at only one spot to make the volume create the characteristic of the sound. When the source of sound is singular all the reflections are based on a specific location and the reflections can truly colour the acoustic output.

Archio Acoustic Faculty

Speaker placed at multiple spots to reconstruct a complex sound situation with many sound sources. This to be able to recompose authentic conditions where the sources constantly are multiple.

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Sound bounces from the diagonal cuts and creates a reflection towards the observer

The cuts in the wall and roof creates a series of reflections making the acoustic input dynamic and complex

Floor plans Plan strategy

The organisations of the different floor plans are made due to three major aspects: diversity in use of the different sound volumes, acoustic focus points and visual and acoustic connection through the public path. The private investigation boxes, related to the different faculties, are places wrap-around the public spaces used by the visitors to create an acoustic interchange. The shape of the Valve is constructed in connection to the acoustic properties of a space that organically moves through the site. This organic movement enables a further controlled sound situation without unwanted reflections bouncing back at the source of the sound. The placement at the site is linked to existing locations of the threes and existing entrance to the opera and the football stadium.

Opera connection

Workshop opera

Opera function penetrating through Valve at first floor

Physio Acoustic faculty Archio Acoustic faculty Eco Acoustic faculty Opera extension Public path, The Valve

Meeting room opera

Physical and visual connections

Opera connection

Workshop opera

Meeting room opera

Workshop or opera e

Opera function penetrating through Valve at second floor

Meeting room opera era

Interior connections between different function

Second floor

Workshop opera

Connections with green areas at the exterior path

First floor

The exterior stripes as an extension of the sound volum es in the Valve

Meeting room opera

F E1

K F2

Foyer staff

Sound bank Office/storage

Experimental Research D2

Office connection Stage Connection

Adjustable wall structure

Workshop connection

1 Control room

C2 Workshop entry Medical facility entry

A1 A2

Physio Acoustic

B1 B2

A1 A1

Acoustic panels

Archio Acoustic

B3 B1 B4

Acoustic panels

C1 Acoustic panels

Acoustic panels

, A4 Acoustic panels

Reception

Acoustic panels

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J A. Phycio Acoustic Department A1 Office A2 Conferece room A3 Voice printing room A4 Medical storage B. Archio Acoustic Department B1 Office B2 Conferece room B3 Sound Banc B4 Equipment room

C. Eco Acoustic Depertment C1 Office C2 Conferece room C3 Analyse data room D. Experimental D1 Control Room D2 Experimental room

E. Opera

E1 Reception and wating room E2 Secondhand clothing spare E3 Storage E4 Washrooms E5 Washing machine and Tumbler E6 Cleaning utilitiy room F. Infrastructure for opera staff F1 Office F2 Conferece room

G. Backstage opera G1 Reception and waiting room H. Outdoor space I. Public street sound injections I1 Focusing sound I2 Phase shifting sound I3 Deplacer of sound I4 Silencer

East entry

Acoustic panels

West entry

Acoustic recomposer

A3 Voice Printing room

Storage Opera

J. Stadium I1 fotball stand K. Administration od Opera K1 Office K2 Meeting room K3 Lounch

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South Elevation

Facade strategy

The facade of the building consist a grid of pillars and a semi-transparent and translucent membrane.

Axonometric drawing of the structual components in the Valve

Sound volumes are penetrating through the Valve facade and thereby get visually and acoustically present. The facade becomes a complex system of angels where specific focus point are altered. These points are visually and acoustically framing specific situations

At the spot, where the existing entrance to the opera building is located, the building gets elevated. This act is made to continue the present movement at the site and to retain a visual connection between the public path and the workshop entrance.

At the spot, where the building is elevated, the sound volumes are places in sub level 1. A visual and acoustic connection between the volumes in the sub level and the public path is maintained by letting minor intersections between the two allowing sound and light to infiltrate.

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Section through opera connection

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Section through work shop connection

Section through office connection

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Section displays the acoustic condition in the building and how the journey through the Valve is experienced acoustically.

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Parameters

Silence

Reverberation

Spaciousness

The parameters to measurer the acoustic experience are many and in this occasion the silence, reverberation and spaciousness is chosen. This because all three of them are indicating distinguishing qualities in the acoustic context.

This description reference to the absent of sound. This parameter is connected to the subjective experience of a sound situation. There is never a complete silence and when designing to achieve a silent situation there have to be a balance between the acoustic inputs. In a space where the acoustic inputs work in a symbiosis can we apprehend a silent space.

The sound reflects off the walls and objects in the room. The individual reflections are gradually disappearing and the reverb develops. The most commonly perceived quality of room acoustics is how sound energy decays in a space, referred to as the roomâ&#x20AC;&#x2122;s reverberation. As a part of the reverberation the early reflections enable the human brain to quickly identify the room size. They are therefore the most critical part of a reverb effect.

Describes how large and wide the sound source appears to the listener.

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Recomposing membrane

A sound department in Malmรถ

Acoustic panels

To create a dynamic transition between the boxes and between the Valve and the sound boxes, acoustic panels are places in the Valve. This creates a dynamic change when entering the different sound volumes. This also creates a possibility to control the acoustic outcome of different situations.

The Valve is a public journey of sound. There are two path leading trough the building with large acoustic differences, The tree different faculties connected to the Valve is being acoustically and visually present when wondering through the path inside the Valve. The sound experience from the path is based on dynamic variation in decibel, frequency and rhythm. Inside the Valve some boxes are open to the public while some are exclusively used by the different faculties. While some volumes are visually present others are exclusively heard in specific points.

Adjustment of absorption

The recomposing shape is capturing sound inputs from the exterior microphones. The shape is done to create a strait vertical enhanced reflection. This makes the volume only effects the are directly beneath. Bentih the funnels there are acoustic absorbers preventing the sound waves to reflect further and effect other arts of the Valve.

Adjustment of acoustic membrane

Distance between the acoustic panels can be adjusted to meet the specific requirements

Distance between the acoustic lates in the funnel can be adjusted to meet the specific requirements

Recomposing membrane Area exposed to the sonic waves Acoustic absorber

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Focusing membrane

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Sound energy harvesting Sound bank collecting, a focus membrane are is connected to a ribbon microphone to get most accurate sound and to be able to collect sound from a distance source.

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The focus membrane are designed to be able to change the direction of focus point depending on the location of sound source

Sound Recomposing

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Sound recomposing, a focus membrane is connected to a Condenser microphone to get the most accurate, clear and sensitive sound collection. The recomposing shape is capturing sound inputs from the exterior microphones. The shape of the funnel is design to create a strait vertical enhanced reflection. This makes the volume only effects the area directly beneath the funnels; where there are acoustic absorbers preventing the sound waves to reflect further and influence other parts of the Valve.

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Sound energy harvesting , a focus membrane is connected to a ribbon microphone to be able to collect sound with a big decibel range and then generate the most energy as possible. The dynamic microphone is also least fragile and therefore suits best for this kind of function. The sound is then transported to the interchange devise where Prizle crystalls are concerting the sound energy to electrical impulses and the desired energy such as light, heat etc.

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Acoustic phenomenon at Stripes

A sound department in Malmรถ

To create a dynamic acoustic condition at the exterior areas, the stripes have been given different materials. The different materials got altered acoustic properties and are there for going to provide diverse acoustic responses. These acoustic variations are present through simply walking on them, but also as functioning transmitters of acoustic impulses.

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Microphones as the site recording movements and existing acoustics.

Front Plate moving due to movement in air

Back Plate

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Battery

Speed of sound in normal air is 343 m/s. In water the speed is 1,433 m/s. Sound velocity in some common solids are indicated in the table below: โ ข(1 m/s) = (3.6 km/h) = (196.85( Front Plate moving due to

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Medium Velocity (m/s)

Gold 3240

Complex electrical output indicating sound

Unspeakable spot

Face echo path

Eletric supply Complex electrical output indicating sound

Aluminum 6420

Hardwood 3962

Brass 3475

Iron 5130

Brick 4176

Lead 1158

Concrete 3200 - 3600

Lucite 2680

Copper 3901

Rubber 40 - 150

Cork 366 - 518

Steel 6100

Complex electrical output indicating sound

Eletric supply

Front Plate moving due to movement in air

Back Plate

Sound Waves

Diamond 12000

Complex electrical output indicating sound

Battery

The movement in air is translatet into electrical imputs

Back Plate

Sound ou Wavess

Water 1433

Battery

Back Plate

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Sound Wa Waves

Battery

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Front Plate moving due to movement in air

Back Plate

The movement in air is translatet into p

Glass 3962

Wood (hard) 3960

Glass, Pyrex 5640

Wood 3300 - 3600

Complex electrical output indicating sound

Eletric supply

Complex electrical output indicating sound

Eletric supply

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Noise cancelling

Complex electrical output indicating sound

Eletric supply

Complex electrical output indicating sound

Eletric supply

Reinforced frequencies

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Front Plate moving due to movement in air

Back Plate

Sound Waves

Battery

The movement in air is translatet into electrical imputs

Acoustic transmitter

Complex electrical output indicating sound

Eletric supply

Microphones in the square

Connection to sound volume

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Conclusion

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This project took a starting point from a fascination of a physical phenomenon, and is an exploration of one of the many properties of architecture - sound - and how it relates to space, site and occupants. The project has also put the question about interaction and how the audience and the location might be combined to become the composers and performers space and thereby turn out to be a time specific composition. It has given me a new frame of references when it comes to reading the physical space and to appreciate it in a novel way. There is a phenomenological aspect of the project which has to do with the sensory experience of the object in space and the way in which sound interacts with the object, the human body and its surroundings. This part has always been key ingredients in the proses of designing, although the physical outcome of this element sometimes has been less perceptibly present. During my work, this project and thesis has fundamentally changed the way I listen to sound and music. As well as my relation to spaces we occupy and the way I listen to, think about and relate to architecture. The outcome of this project developed into a Department of Sound - a space where the acoustic implications are a superior property of architecture. But regardless the final product, has this project, with itâ&#x20AC;&#x2122;s numerous of investigations, been scripting a novel part of my architectural language.

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