SOUNDCITY Javier Gomez
CONTENTS
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PROJECT STATEMENT APPLIED PRECEDENT SITUATIONAL INVENTORY ICONOSTASSE DOSSIER ANNOTATED BIBLIOGRAPHY
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This thesis seeks to challenge the
conventional notion of materiality in architecture, through an investigation of sound as an agent for creating new possible architectural conditions within our freeway systems.
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SOUNDCITY Everyday objects have begun to evolve because of our
curious nature, as technology thrives to push the limits of the impossible in different ways. We have grown accustomed to the idea that our world is rapidly evolving as we are able to witness each and every day. This constant pressure of our everyday lives has begun to compel architects to now reassess the suitable means of manipulating space outside of its typical boundaries. The idea of intangibility in architecture, as a means of manipulating space, has previously been explored and is evident in projects such as the Philips Pavilion and the 21 Opera space, among others. Their purpose was to explore space through the use of sound, allowing the user to then experience space and become affected as they progress. As Philosopher Lao-Tse said, “Architecture is not four walls and a roof; it is also, and above all, the air that remains within, the space that these enclose.� This awareness in our invisible surrounding has begun to branch exploration of possible ways in which to harness sound as a potential means of harvesting energy for future automotive needs. This thesis seeks to challenge the conventional notion of materiality in architecture, through an investigation of sound as an agent for creating new possible architectural conditions within our freeway systems. Therefore, allowing our road systems to keep up with the current advancements in technology.
APPLIEDPRECEDENT Music Pavilion - Salzburg Biennale 2011
The primary design intent for the art pavilion was to create a recognizable presence for contemporary productions in Salzburg, a city that is predominantly known for classical music. The main user of the pavilion is the Salzburg Biennale, a festival for contemporary music. A 2-meter long aluminum profile is arrayed to create oscillating spatial effects. The single sticks merge into a mass-like structure that changes its appearance during the day according to different light conditions. The speculative intention behind the “obliteration” of the pavilions structure is to prevent any conventional notion or cliché of “construction”. Instead the pavilion should appear arbitrary to invite visitors to invent their own associations and interpretations.
Pavilion 21 MINI Opera Space
Coop himmelb(l)au have released plans of their 'pavilion 21 mini opera space'. the temporary mobile performance space created for the Bavarian state opera in Munich, Germany will be able to accommodate 300 visitors. It is intended to be used for a wide range of events at the annual opera festival 2010 and then travel to various locations. The design goal for the pavilion is to impact a unique soundscape by helping to reduce the apparent noise and to create a 'zone of silence' where it is technically not possible, but this term used here is intended to describe an area where you can sense a change in the soundscape that gives the impression of a quieter environment.
Decibel Levels
Rustle of leaves in gentle breeze 10dB
Average whisper 4ft away 20dB
Restaurant 50dB
Busy street
60dB
Car corn 23ft away
100dB
High speed train 105dB
Threshold of painful sounds
130dB
Source Reflection
Sound Analysis
Idea of converting sound frequencies into tangible architecture.
Sound Reflection Diagram
Diffracted Path
Emitter Receiver
Street
Interior
Solid wall
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Sound wave
Pyramid wall
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Sound wave
Soma music pavilion wall
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Sound wave
Pavilion 21 MINI OPERA SPACE
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Sound wave
MAPPING
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ICONOSTASSE Blurring reality
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One/Milue
Two/Esprit
Three/Chair
Four/Fusion
Five/Caractere
Six/Offre
Seven/Outil
AMUSEBOUCHE
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21OPERASPACE TemporaryOpera
Event: Opera Space Context: Munich Opera Festival 2010 Materiality: Aluminium. Representation: Acoustic barrier. Genealogy: Its main purpose is to serve as an opera house. Certainties: Is capable of housing up to 300 people. Presenting Characteristics: generated parametrically through the overlay of sound frequencies Indirect Effects: Shapes act either as sound reectors or as sound reducers. Contents: Temporary 300 seat Pavilion Conceptual Underpinning: The task was to develop a temporary Pavilion for the Munich Opera Festival 2010 with a multifunctional stage. Working Metaphor: Acoustics
SOUNDART LightSound
Event: Sound sculpture Context: Anywhere. Materiality: Acrylic. Representation: The humming sound of light. Genealogy: To create an ambient out of light. Certainties: Created taking a halogen lights sound pattern. Presenting Characteristics: Turbulent landscape. Indirect Effects: SitespeciďŹ c. Contents: light. Ecological Orbit: Study the nature of light and sound. Conceptual Underpinning: Created to understand sound visually. Movement: Creates an aesthetically pleasing light. Working Metaphor: Mapping sound.
SOUNDBOX SoundInstallation
Event: Sound installation. Context: Site-specific. Materiality: Cardboard Representation: The sounds of nature. Genealogy: To recreate something that happens naturally. Certainties: Created with boxes, string and a small motor. Presenting Characteristics: Resembles thunder storm. Indirect Effects: Sitespecific. Contents: Room filled with boxes. Ecological Orbit: Experimenting with sound. Conceptual Underpinning: To recreate nature. Movement: To create an environment within a structure. Working Metaphor: Playing with sound.
SOUNDCHAIR 3DSound
Event: Sound chair. Context: experimenting with sound. Materiality: Foam Representation: Sound Genealogy: To serve as a chair made of noise. Certainties: Created taking sound waves and 3d modelling them. Presenting Characteristics: Gives a feeling of a landscape. Indirect Effects: Anywhere. Contents: Chair. Ecological Orbit: takes sound and creates a tangible object. Conceptual Underpinning: The idea was to make something intangible, tangible. Movement: Creates a seating environment. Working Metaphor: Sound Chair.
SOMAPAVILION MusicSpace
Event: Music pavilion. Context: Current international developments in contemporary music. Materiality: Aluminium Representation: Random algorithm. Genealogy: to create a recognizable presence for contemporary productions. Certainties: Parametric aluminium rods, can hold up to 80 people. Indirect Effects: Temporary pavilion that could be expanded or decreased if necessary. Contents: Houses various events such as concerts, video screenings and exhibitions. Ecological Orbit: Promote Contemporary Music Conceptual Underpinning: the structure features simple repetitious elements that provoke curiosity and entices visitors to enter. Movement: the reective pavilion allows for an ambivalent reading as both singular members and a merging conglomerate
MUSICPAVILION ExperimentalSound
Event: Experimental music pavilion. Context: Pavilion for experimental music that can change shape Materiality: Aluminium wire frame. Representation: Sound wave. Genealogy: Its main purpose is to serve as a place to experience music. Certainties: Rotating acoustic elements open and close the pavilion Indirect Effects: pavilion can be dismantled for transport and assembled in public interior spaces. Contents: 10.00 x 12.00 x 5.00 meters and 1900 pieces. Ecological Orbit: Educational Conceptual Underpinning: To create a temporary place to experience sound.
CHAOSPOD EmergencyShelter
Event: Emergency Shelter Context: Disaster prone cities Materiality: Plywood Representation: Water Molecule Genealogy: Its main purpose is to serve as an emergency shelter. Certainties: Is capable of housing up to three people. Presenting Characteristics: Resembles a lantern. Giving a sign of hope. Indirect Effects: It can be located in disaster Prone areas Contents: Room for two adults and one child to sleep. Ecological Orbit: given the recent tsunamis the idea emerged from a water molecule. Conceptual Underpinning: The intention was to redesign the concept of emergency shelter.
HELIOSHOUSE GasStastion
Event: Gas station Context: Eco friendly gas station Materiality: Steel Representation: The future of greener fuel. Genealogy: To create a self sustaining gas station Certainties: Eco friendly Presenting Characteristics: Resembles the possibility of greener gas Indirect Effects: Can become mostly anything from a bench to a facade. Contents: Bio chemical fuels. Ecological Orbit: Designed taking into consideration our current environment. Conceptual Underpinning: To depict the path our society will be heading towards. Movement: To create an environment underneath the shell. Working Metaphor: The future of Gas.
UKPAVILION SeedBank
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Event: UK World Expo Pavilion. Context: Showcase a seed bank. Materiality: Optical strands. Representation: Nature. Genealogy: Its main purpose is to is to exhibit a seed bank. Certainties: 20-metre high building, constructed from 60,000 transparent 7.5-metre long optical strands Presenting Characteristics: Evolving technology. Indirect Effects: Can be located in open interactive areas. Contents: Room which houses 60,000 seeds. Ecological Orbit: evolves around the idea of preserving our past. Conceptual Underpinning: The intention was to create an innovative display. Movement: Transfers light within the strands. Working Metaphor: Preserving our past.
FLAREFACADE KineticWall
Event: Kinetic Facade Context: Dynamic Membrane. Materiality: tiltable metal flake bodies. Representation: Pixels Genealogy: Reflects the sunlight to create an atmosphere. Certainties: consists of several tiltable metal flake bodies supplemented by individually controllable pneumatic cylinders. Indirect Effects: Can adapt to any surface on a building. Contents: Computer programmed patterns. Ecological Orbit: It allows a building to express, communicate & interact with its environment. Conceptual Underpinning: To create dynamic facades. Movement: To create an environment. Working Metaphor: Motion interaction.
BIBLIOGRAPHY "Acoustics and sound systems in architectural design." JBLPRO. N.p., n.d. Web. 5 Nov. 2011. <www.jblpro.com/pages/Sound_In_Architectural_Design.pdf>. "Defra, Noise Mapping England." Defra Applications. N.p., n.d. Web. 26 Oct. 2011. <http://services.defra.gov.uk/wps/portal/noise>. "Edwin van der Heide - Pneumatic Sound Field." Edwin van der Heide - Home. N.p., n.d. Web. 8 Nov. 2011. <http://www.evdh.net/pneumatic_sound_ďŹ eld/>. Hanse, Colin . "Fundamentals of Acoustics." World health organization. N.p., n.d. Web. 6 Nov. 2011. <www.who.int/en/>. Janning, James. "Understanding Acoustics in Architectural Design." Architectural Record Jan. 2007: n. pag. http://www.usg.com. Web. 1 Nov. 2011. "Music, Noise, Silence, and Sound." Cobussen.com. N.p., n.d. Web. 13 Nov. 2011. <http://www.cobussen.com/proefschrift/300_john_cage/317_cage_and_noise/317b_m usic_noise_silence_sound/music_noise_silence_sound.htm>. "Noise pollution: non-auditory effects on health ." Oxford Journals | Medicine | British Medical
Bulletin. N.p., n.d. Web. 8 Nov. 2011. <http://bmb.oxfordjournals.org/content/68/1/243.full>. Rossing, Thomas D.. Springer handbook of acoustics. New York, N.Y.: Springer, 2007. Print. Schafer, R. Murray. The soundscape: our sonic environment and the tuning of the world. Rochester, Vt.: Destiny Books ;, 19931994. Print.