Synesthete City (Volume2: Emergence)

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*

Richard Cytowic (2003) explains synesthesia as “a stimulation of one sensory modality automatically triggers perception in a second modality in the absence of any direct stimulation to this second modality” in his article named “Synesthesia: A Union of Senses”. The individuals who are experiencing synesthesia are called synesthetes. (Cytowic, 2003) According to Deni Simon, a synesthete, interviewed by Cytowic, (2003) music causes audial waveforms visually. “Like oscilloscope configurations, lines moving in color, often metallic with height, width and, most importantly, depth. My favorite music has lines that extend horizontally beyond the screen area.” he mentions when explaining

his unique experience of synesthesia.

V OL U ME 2 :

E ME RGE NC E

ALI CAN IN A L YAN Z H ON G L I YU GE |3


September 2017

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Deepest thanks to Roberto Bottazzi and Kostas Grigoriadis, for their endless efforts and stimulating guidance.

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VOLUME 2: EMERGENCE

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1

BALANCING THE SOUNDSCAPE [The Loop] A New Approach to Soundscape Treatment 09 Sonic Environment Guidellines 10 The Loop 16

2

PROGRAMMING AND RECLAIMING LANDS [The Triangle] An Education and Technology Hub 25 Reclaiming Lands 29 A Computational Approach to Masterplanning 35

3

VA R I AT I O N S A N D S PAT I A L I S AT I O N [The Corner] Initial Design Variations 86 A Discrete Method for Array/Geometry Interaction 99

4

ACOUSTIC MORPHOLOGIES [Growth Algorithms] Noise Exposure Simulation and Sampling 86 Array Acoustic Growth Variations 126 Solid Acoustic Growth Variations 202

5

FINAL INTERVENTION [The Synesthete City] The Sonic Masterplan 243 Sonic Crystal Array Tower 263

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1 BAL ANC ING THE

S OU ND S C APE [TH E

LOOP]

How can we contribute to the soundscape by exploring the potentials of sound as a design input? How can we design spaces/cities that raise human awareness of the surrounding soundscape? What is the responsibility of the designer when a unique paradigm shift is necessary?

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A

N E W

A PPR OAC H

TO

SO UNDSC A PE

TREATMENT

As humans of early 21st century, our approach to sound in urban scale is destructive and sound-driven applications are mostly based on alienation. This trajectory needs a paradigmshift. We need more open and inclusionary methods and practices to interact with sound in our cities. The variety of these novel interaction approaches should have a wide range in terms of scale, from urban noise management tools to 1/1 public installations. In this case, the relationship between us (city settlers) and the soundscape, should be considered wider. It should be thought as a multi-layered sound, space and time condition. Therefore, a new approach is needed to human/soundscape interaction in urban environments. We need a deeper understanding and an extensive grasp of not only black and whites but also the grey areas in-between “good” or “bad”.

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S ON I C

E NV I R O N ME N T

G U ID E L IN E S

In order to have a better understanding of the technical and policy aspects of our sonic environment, an investigation through relevant guidelines designed for sound management in our built environment was made. According to this investigation, the soundscape values in The Loop area of our site was distributed into three categories: Positive soundscapes, negative soundscapes and buffer zones. Each zone will be treated with different sonic tools and will be managed with different approaches.

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SO N IC

A R R AY

LAYO UT

According to the guideline investigations and zoning, the site (The Loop) was filled with relevantly calculated sonic crystal arrays to generate a backdrop map for any kind of further crystal array allocations.

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D E C I BE L

TO P O G R A PH Y

AC C O R D IN G

TO

GUI DELI NES

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DECIB EL

MA P

ACCO R DIN G

TO

G UIDELIN ES

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FREQUE N C Y

TO PO G R A PH Y

AC C O R DI NG

TO

GUI DELI NES

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F R EQUEN CY

MA P

ACCO R DIN G

TO

G UIDELIN ES

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LOOP

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GENERATI ON


RELATI ONAL

BONDS

ACROSS

TH E

LO O P

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PROG R A M M AT I C

Z O N IN G

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P O I N T- B A S E D

FU N C T IO N

A P PO IN TM ENT

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2 PROGRAMMING AND

RE C L AIMING L AND S [TH E

TRI ANGLE]

In order to reach to a level of better understanding and treating the soundscape, the studies held through sonic arrays combined with a programmatic aspect. The program of "education and technology hub" was envisioned for the site. This program requires certain spatialisations for its different functions embeded inside. And to achieve the necessary urban quality for eachsub-function of this program, different land uses and different soundscape treatments were carried.

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R E C L A MING

L A NDS

Although the soundscape theory is a positive progression, it is only covering black and whites. But the issue of soundscape/human interaction in cities is more complex than that. It has colossal grey areas in-between. And it is not as rigid as true or false. It is evolving according to the changes on both sides of this interaction. The habits and lifestyles of human are rapidly changing, and cities (therefore the urban soundscape) is also progressively changing. So we need to define a more flexible thought system. In order to reach to a level of better understanding and treating the soundscape, the studies held through sonic arrays combined with a programmatic aspect. The program of "education and technology hub" was envisioned for the site. This program requires certain spatialisations for its different functions embeded inside. And to achieve the necessary urban quality for eachsub-function of this program, different land uses and different soundscape treatments were carried. The chosen site can be considered as a non-place for many reasons. Sonic issues is one of the major reasons. So in order to start reusing this site as a public/urban scene, we needed to reclaim this land by acoustically sealing it from the edges. After that, we devided the inner areas into different functional zones according to their sound-wise qualities, which is coming from our sound maps and guideline researches.

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3

SON I C

TOO L S

FO R

3

S O U N D S C APE

Z ONES

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SON I C

C RY STA L

A R R AY

MA S T E R P LAN

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A

S C R IPTE D

A PPR OAC H

TO

MA STERPLANNI NG

After a conceptual masterplan layout was created, which includes dimensions of a sonic crystal array in order to reach to envisioned sonic environment for each pixelated site, a new level of investigation was needed. How can this masterplan layout will lead us to a computational method of masterplan generation? A script was created to automatically generate topographies, which these topographies will generates sonic arrays according to the sonic array layout. Another topography also generates basic 3 dimensional geometries which will be used to represent volumes, and they will interact with the arrays in order to generate actual built environment. After a speculative 3 dimensional space is created, the hypothetical 3d geometries will be removed. The script run for countless times in order to test different topographies with different volume/sonic array interactions.

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AN

IN I T I A L

C L U S T E R

O F

S O N IC

A RRAYS

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DISTAN C E

B A S E D

C O L O R

C O D E D

ARRAYS

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A N

IN IT IA L

C L U S TER

OF

H YPOTH ETI CAL

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VOLUM ES


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FU N C T IO N

B A S ED

COLOR

CODED

H YPOTH ETI CAL

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VOLUMES


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THE

VO L UM E TR IC

PR O G R A M

Hypothetical Volumes

Sonic Crystal Array

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Intersection

The Program

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Educational Facilities

Technology and Startup Hubs

Integrated Public Facilities

Standalone Public Facilities

Sonic Array Pathway

Sonic Crystal Array Topography

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Distribution According to the Program

Overlapped SiteMap

Design Variations Testing Grounds

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3 VA RIAT IONS

AND

SPAT IAL IS AT ION [TH E

CORNER]

The initial masterplan gave significant hints about how might be the design intervention to the site. But to study further on the subject, and eventually to be able to be led to a final masterplanning process, design intervention variations for specific location was held.

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DESI GN

VA R I AT IO N S

T E S T IN G

G R OUNDS

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DESI GN

VA R I AT IO N S

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DISC R E TE

SO NIC

C RYSTA L

A RRAYS

Following the current sound environment analysis, thousands of crystal arrays are installed into the site, which are specially arranged in terms of radius and distance between each elements to modify the soundscape with different purposes. Boxes in this site are generated and considered as volume of the actual buildings or tools which will be moved out after modifying the shape of crystal array and creating space. Detail surface textures will also be developed and combined with different variations of crystal arrays to adapt to the flexible soundscape, and make the design as an installation to filter and improve sound environment in an urban scale and create habitat space at the same time.

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DIS C R E T E

S ON I C

CRY S TAL

A R R AYS

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DIS C R E T E

S ON I C

CRY S TAL

A R R AYS

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ACO U S T I C

S I M U LAT I ON S

F O R

DISC R E TE

E L E ME NTS

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ACO U S T I C

S I M U LAT I ON S

F O R

DISC R E TE

E L E ME NTS

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4 AC OU S T IC MORPH OL OGIE S [GROWTH

ALGORI TH M S]

In order to enchance the sound modification ability of the sonic crystal array approach, the texture and morphology studies were made as a continuation of our initial material studies from earlier studies. The logic behind these studies is to investigate different growth algorithms and test them against sound interaction.

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NOI S E

EX POS U RE

S I MU LATI ON

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NOI SE

E X PO S U RE

S I M U LATIO N

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NO I S E

E X P O S U RE

S A M P L ES

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5 F INAL INT E RV E NT ION [ TH E

SYNESTH ETE

CI TY]

Besides the design process and the end product, the significance of the progress was that the roles of the designer (us), the site (built environment) and the soundscape shifted constantly. There were no dominant-submissive relationships between the sides of this interaction. Sound was always counted as a transforming and evolving being. Even the dataset or the design intentions change in time and space, the interaction between all entities in the process was placed constructively.

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TH E

SO NIC

MA STE R PL A N

The Sonic Crystal Array research had a wide range from nanoscales to product scales. The core idea behind arrays is that, independent from their material or scale, they have the ability to transform and filter sonic waves. Since our approach towards the soundscape is not to alienate or disregard it, an urban-scale interpretation of these arrays would be a perfect match with our approach. The Sonic Array idea was tested both physically and digitally through physical models and computer simulations. In parallel to Sonic Array studies, other issues such as accessibility, program, material and space-making were also continued. As the final stage of the design investigation, a masterplan was built. It is an outcome of all kind of masterplanning stadies, from conceptual to computational since the beginning of the design process.

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SO NIC

C RYSTA L

A R R AY

TOWER

Following the current sound environment analysis, thousands of crystal arrays are installed into the site, which are specially arranged in terms of radius and distance between each elements to modify the soundscape with different purposes. Boxes in this site are generated and considered as volume of the actual buildings or tools which will be moved out after modifying the shape of crystal array and creating space. Detail surface textures will also be developed and combined with different variations of crystal arrays to adapt to the flexible soundscape, and make the design as an installation to filter and improve sound environment in an urban scale and create habitat space at the same time.

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G E O ME T RY

IN T E R AC T E D

ARRAYS

Multiple boxes volume are combined and used to modify the geometry of crystal arrays. Two layers of offset crystal arrays are created to flow around the boxes, generating different space inside.

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SO N IC

CRYSTA L

A R R AY

TOWER

This corner of the site is located beside the main road for public transportation. As this place is heavily affected by both road noise and airplane noise, a sonic crystal array tower is created to improve the sound environment and serve as a education facility center at the same time. Multiple boxes volume are combined in a certain way to modify the shape of crystal arrays, which flow around the boxes volume in a variate ways to create the tower and its interior space.

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Tower Boxes Volume

Second Layer of the Crystal Array

F’rst Layer of Crystal Array

Crystal Array Tower

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Southern View

Southern View

Northern View

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