art waves
JEREMY BONWICK MELBOURNE SCHOOL OF DESIGN STUDIO 30
1
a stone is dropped into a lake...
a chord is strummed o n a g u i t a r. . .
art waves 2
introduction A repurposed quarry site in rural Victoria, near the town of Colac which, by car, is approximately two hours out of Melbourne. The site is revitalised through the intervention of a festival precinct which will operate during the summer months along with a year-round program — a School of Art which provides for traveling students from Melbourne to stay on site in accommodation facilities as well as the almost 1500 local students in the area, a camping ground which operates in tandem with the accommodation as well as the festival as well as spaces for dining and events. The semester’s investigation began with the first brief which was to become familiar with the acoustic terminology, theories and optimization through qualitative and quantitative means. The handmodeling component of this task generated iterations quickly but also began to instill an instinctive
understanding of the acoustic properties of different geometries. The eventual designs for the acoustic shell that sits on the site is a direct result of some of the iterations in this first brief. The second brief was the major project of the semester, looking at the programming and design of the entire Colac quarry site. The initial stages were master planning, broadly arranging programs and starting to define the architectural gestures. This eventually moved onto the more involved process of optimising and resolving the shell itself.
3
The acoustic shell which is the focus of the design was located in the bottom of the quarried out landscape is optemised for 2000 seated guests and a further 10,000 on a sloped grassed area. The shell shows its structure, thick and heavy glulam beams, the same as are used across the site in the school and accommodation buildings, which is clad in plywood and translucent polycarbonate. During performances and when the sun is out, the shell will glow with light. ESD forms a focus of the site, in the rehabilitation of the quarry plantation has occurred throughout. In the built for, minimal concrete used and structural framing celebrates engineered structural timber systems in Glulam as well as rammed earth. The site is generally arranged around three sets of concentric circles; these epicentres represent ‘waves’. Acoustics depend on waves to transmit sound and this is correlated to the water bodies of the site which also generate waves. The epicentres of the wave sets sit at the centroids of the water bodies and the centre of the stage, the points at which waves emanate on the site. The diagram of the waves defines the overall geometry of the site and in particular.
4
Tangentially, the site is also governed by the idea of viewership — four modes of viewer occur across the site and are linked to occupation and function. These modes are; the audience, the learner, the way finder and the aligner. The views exist as vectors, lines of sight which reference tangents or perpendicular lines drawn from points on the concentric waves creating an interconnected overarching order. Thematically, the scheme deals with the somewhat competing yet inherently interrelated ideas of acoustics and vision, the relationship between the performer and the viewer, which in some circumstances is a viewer and a landscape or an architectural object. These ideas are inspired somewhat by the work of Elizabeth Diller in her firm DS+R. Their work commonly examines viewership, the way in which occupants are positioned in a space or landscape with a visa or frame in front of them. This is matched with schemes such as Bernard Tschumi’s Parc de la Villette which uses a broad gestural geometric order to start defining the architectural treatment of a large scale site.
Epicentre Three The instillation in the lake, as it lands everything ripples outwards from it, it crosses the two programs
introduction
Epicentre One The lake; a boulder dropped in the middle the birds fly, the water splashes onto the steep banks
Epicentre Two The concert; the crecendo is reached, the crowd rise, their voices join in with their clapping and admiration. The conductor turns and bows.
5
brief one investigations into acoustics
GOLDEN SPIR
6
RAL
CURVILINEAR
ANGLED FOLDING INTERPOLATION
7
ITERATION 15 1:5 DRAWINGS @A3
50
150mm
500 177 171 106 220
The first brief involved producing iterative model, digital and physical, to amplify the sound from a smartphone speaker. 8
42
160
brief one LISTENER
The outcome of this task was to familiarise oneself with acoustic properties of geometries that could become shell structures, in a way making the design process later on more intuitive 9
STAGE 1_ ITERATIVE PHYSICAL MODEL GEOMETRIES
PERSPECTIVE
SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY
PLAN
ELEVATION ITERATION # OBSERVATIONS: _ General move from sculptural objects to more focus on the acoustics _ Learning from each previous iteration and moving to designs that trap and then amplify the sounds
02.
06.
04.
08_1.
08_2.
OBSERVATIONS: _ Curve shape with openings on top and side _ Small amplification and interesting reverb and direction _ Soften the harshness of S03 and the melody of S01 smoother towards the end of the sample.
OBSERVATIONS: _ Sleek shape with much more amplification when phone placed underneath the canopy, sound reproduction reasonably similar. _ Beat of S03 crisper and the orchestra of S01 had greater clarity.
OBSERVATIONS: _ Minor amplification, visual interest. _ Overall high clarity of sound amongst the samples, S02 sounded the most different with noticeable clarity in the vocals.
OBSERVATIONS: _ Potential to be expanded and turned into a full shaped cylinder. _ Minimal amplification in this iteration _ Reflections seemed to maintain the clarity of the samples and the beat of S03 was well reproduced.
OBSERVATIONS: _ Same as previous by horizontal _ With the phone paced in the centre there is amplification in the two directions. _ Overall the vocals of each sample were smoothed out, the beat of S03 was amplified as was the piano of S02.
EFFECT AND ECHO
EFFECT AND ECHO
VISUAL INTEREST
REFLECTION
AMPLIFICATION
AMPLIFICATION
VOCALS ACCOMPANIMENT BEAT
CLARITY ECHO
SOFTNESS
BROAD CATEGORY
MODEL ITERATIONS_ Physical models were tested qualitatively against a scale of amplification and clarity 10
brief one 07.
10.
11.
13.
14.
15.
16.
OBSERVATIONS: _ Simple geometry _ Minimal amplification _ Very noticeable softening of the samples, S02 sounded especially relaxing in this geometry and the quieter beginning to S01 was very muffled.
OBSERVATIONS: _ Most effective amplification of sound, totally envelopes the phone. _ Interesting to look at perforations and more enclosing of the phone. _ Samples all performed equally with the most noticeable being overall amplification.
OBSERVATIONS: _ Quite effective amplification, very simple geometry. Phone placed right at the base of the curve to reach the maximum amplification. _ The clarity of the vocals in both S02 and S03 was increased, as was the crispness of the heavy drum beats in S03.
OBSERVATIONS: _ Inspiration from speaker designs, and Google Home etc. _ Noticeable affects on amplification _ Smothering brought an interesting reverb to the guitar in S03 as well as the operatic vocals in S01.
OBSERVATIONS: _ Overlapping angled geometry with three openings. _ Less effect on amplification but some interesting bass elements. _ Vocals seemed to be highly amplified in this iteration with the punchiness of S03’s vocals very noticeable.
OBSERVATIONS: _ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.
OBSERVATIONS: _ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.
OMNI-DIRECTION
FOCUSING
AMPLIFICATION
AMPLIFICATION
FOCUSING
OMNI-DIRECTION
AMPLIFICATION
11
WATER TESTING_ Waves propagate in the medium of water, such it is a good analogue for testing how sound waves will behave in a sectional diagram model. These testes were also interesting as they became an element of the conceptual framework for the project — the waves of water and sound being correlated. From these tests it was interesting to observe how the waves interacted with one another which is not present in the grasshopper analysis. 12
brief one STAGE 1_2 SELECT SECTIONAL WATER TESTING
OBSERVATIONS: _ More amplification will result from models that demonstrate waves bouncing multiple times. _ Looking at how the sound source is obscured as well as how the waves exit the geometry.
13.
15.
16.
21.
23.
OBSERVATIONS: _ Waves intersect minimally, sound radiates outwards and is only channeled by the side flags. _ Very clean waves visible.
OBSERVATIONS: _ Sound moves from lower areas up _ Large number of intersections _ Waves reflect significantly off the ground surface.
OBSERVATIONS: _ Waves held within the geometry, allowed to bounce off internal walls creating an echo chamber of sorts _ Waves become entangled and influence each other — what would this result in air not water?
OBSERVATIONS: _ Waves follow along the curved edges, waves don’t intersect as much because they are following a path _ Less reflection that with a planar surface, or maybe that the waves lose their clarity on the curved surface.
OBSERVATIONS: _ Angled edges bounce the waves more than the previous _ Waves have more interactions, some are held in the tighter area of the spiral.
13
QUALITATIVE ANALYSIS_ Before beginning to digitally analyse the geometries, the physical models were tested thorugh sound tests with a selection of msuic samples. This qualitative means of understanding the acoustic properties was measured on a matrix (opposite) and tracked its effects on the music’s proprieties. 14
500
brief one
THE MATRIX_ The matrix looked to locate the different geometries and categorise them broadly into five groups. The desired result was to achieve a balance of amplification and echo to reduce the tinniness of the phone speakers.
STAGE 2_ CATEGORISING
AMPLIFICATION
DESIRED RESULT VOCALS ACCOMPANIMENT BEAT
ECHO
CLARITY
EFFECT AND ECHO
REFLECTION
AMPLIFICATION
LISTENER OMNI-DIRECTION
FOCUSING
SOFTNESS
15
INTENSITY
-- , -- ~ ~ ~ ~^ ~ ~~ ~ / , ~
, > , ~ ~ ~~ `` .....
.
WAVEFORM
STAGE 2_ CATEGORISING ATMOSPHERE
LYRICAL LACRIMOSA
ACCOMPANYMENT PUNCTUATION
~~~
~~ {
‘;
. .}{ ‘;
-
{
,} ~ ~ ~ ~ ~
‘;
. .} { ‘;
-
,} ~~~~~
. * [ “ , . { ” ’ ; } ( ‘ ; . . “ ,’ } ... ; } ^ ~ ~ }~ ~
ATMOSPHERE
CITY OF STARS
PUNCTUATION
& &&
º ¿¿ & >> • º• • ••• •O // & // & ¿ º •º
¿¿ & &&& °•
/ / ///
&°
•
&&
°• & ! ! ! ! !°• ! ! ! ! !°•
&
&
! ! ! ! !°
•
! ! ! ! !° ! ! ! ! •
BROAD CATEGORIES AND THEIR EFFECTS ON THE SAMPLES
EFFECT AND ECHO
BLACK BETTY
REFLECTION
AMPLIFICATION
OMNI-DIRECTION
FOCUSING
THE MUSIC SAMPLES_ The qualitative analysis was made using three tracks of different styles. A series of diagrams was made to understand the nature of the tracks and then the effects of the geometries on these facets of the music was noted for each iteration. 16
0
+10
ATMOSPHERE
+20
VOCALS
+30
ACCOMPANIMENT
brief one
AGE 3_ TENTION AND AIMS R THE DESIGN
SOURCE OPEN
SOURCE OBSCURED
CLARITY
MOVING FORWARD DESIGN THAT LOOKS TO_
FROM THE INITIAL QUALITATIVE ANALYSIS IT WAS SET OUT THAT THE DIGITAL ANALYSIS WOULD LOOK TO MAKE A BALANCE BETWEEN...
ECHO
1. AMPLIFY AND FOCUS THE SOUND FROM THE SMARTPHONE TO A SINGLE USER
1. Amplification user
towards a single
2. SOFTEN THE PERCEIVED SOUND THROUGH OBSCURING THE DIRECT SOUND SOURCE
2. A softening of the percived sound through obscuring the sound source.
17
STAGE 3_ INTENTION A FOR THE DES
NOITALOPRETNI GNIDLOF DELGNA
The golden spiral was chosen as a basis to explore more measured designs produced inside of Rhino. The spiral matched well with the intentions set out at the end of the qualitative analysis. 18
NOITALROAPERNEITLNIIVRGUN
brief one
AND AIMS SIGN
ANALYSIS WITH 20 RAYS _ ONLY 3 REFLECTIONS _ 2 SOUND SOURCES
DLOF DELGNA
LARIPS NE RD AL EO NG ILIVRUC
THE GOLDEN SPIRAL
LARIPS NEDLOG
_ SIMILARITIES TO SECTIONS OF SOME OF THE PHYSICAL MODELS
_ ACHIEVES THE INTENTIONS SET OUT FROM THE ITERATIVE MODELS
19
ACOUSTIC ANALYSIS_ A number of digital modeled geometries, some based off the physical models, were tested using Pachyderm plug-in in rhino. The resulting analysis was primarily an audience surface with a heat map of the distribution and spread of sound pressure levels (SPL, measured in dB). STAGEFrom 4_ this sort of analysis it could be seen ANALYSIS AND how much amplification was achieved and how the evenness of REFINEMENT the sound across the audience would be. The intention for this task was set out for directioned sound to a single user but for the final shell BASE CONDITIONS. a more even distribution would be TESTING AND DIAGRAMS TO BE COMPARED BACK TO THESE desired. CONDITIONS FOR SOUND PRESSURE DISTRIBUTION WITH NO REFLECTIONS FROM SHELL SURFACES
ITERATION 16. ITERATION 16 1:5 DRAWINGS @A3
50
150mm
GEOMETRY
500
LISTENER
105 115
RAYTRACING OMNI-DIRECTIONAL TESTS
FOCUSED TESTS
105
240
SOUND PRESSURE LEVELS NOTES: _ The following tests were conducted in Grasshopper using the Pachyderm plug-in. _ Settings were for a gradient between 80 and 110 dB sound pressure levels at a 100 Htz. 80
110 GRADIENT SCALE
20
OBSERVATIONS: _ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.
OBSERVATIONS: _ Less consistent sound around the mode. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.
brief one ITERATION 15.
ITERATION 19.
ITERATION 15_2 1:5 DRAWINGS @A3
50
ITERATION 20.
ITERATION 19
ITERATION 20
1:7.5 DRAWINGS @A3
1:5 DRAWINGS @A3
ITERATION 21.
ITERATION 21 1:10 DRAWINGS @A3
20
150mm
200mm
50
150mm 25
500
75mm
LISTENER 500
LISTENER
500
LISTENER
500
500
LISTENER
230
451
177
630
161
222
171
228
42
160 106 220
OBSERVATIONS: _ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.
42
451160
160
172
190 171
230
140
OBSERVATIONS: _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.
106
OBSERVATIONS: _ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.
OBSERVATIONS: _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.
OBSERVATIONS: _ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.
OBSERVATIONS: _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.
375
OBSERVATIONS: _ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.
21
ITERATION 22.
ITERATION 23.
ITERATION 21
ITERATION 23
1:10 DRAWINGS @A3
1:10 DRAWINGS @A3
25
75mm
25
500
75mm
LISTENER
500
630
630
22
OBSERVATIONS: _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience,
228
228
240
OBSERVATIONS: _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.
LISTENER
375
OBSERVATIONS: _ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.
240
OBSERVATIONS: _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.
OBSERVATIONS: _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.
375
OBSERVATIONS: _ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.
OBSERVATIONS: _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.
brief one SOUND SOURCE
ITERATION 19 POSITION 1
960 850
332
ITERATION 23 POSITION 3
800 375
650
RAYS_ 30 BOUNCES_ 10
23
SOUND SOURCE PT
SHELL GEOMETRY
AUDIENCE SURFACE
BASE STAGE
GRASSHOPPER ANALYSIS_ Using Pachyderm to understand the acoustics primarily looked at the SPL as well as the rays of sound, calculated through raytracing, and their interaction with the audience surface. Above left, shows the animation of points of sound moving out from a sound source in the shell and colliding with a surface, be it the shell itself or the audience plane. From this it can be infered how the sound moves and bounces within the shell and then is reflected into the audience. 24
brief one
TRANSLATION VECTOR
MULTI SOUND SOURCES
GEODESIC SOURCE
REFLECTION ORDER
REVERBERATION TIME
DIRECT SOUND SOURCE
ENERGY TIME CURVE SUBDIVIDE SRF TO POINTS
STATIONARY RECEIVER
NO OF RAYS
IMAGE SOURCE
SOUND PRESSURE LEVELS
Surface with gradient of SPLs
RAY TRACING
CUSTOM PREVIEW
SHELL ON POLYGON SCENE SHELL OFF
STANDARD GRADIENT STANDARD DEVIATION
SPHERE
STANDARD GRADIENT
VECTOR 2 POINT RAY DIRECTIONS
VISUALIZE PACH RAYS
CUSTOM PREVIEW EVALUATE LENGTH
LENGTH
Visualises rays as end points with colour code of time
25
STAGE 5_ FABRICATION OF DIGITAL FORMS
PERSPECTIVE
SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY
PLAN
ELEVATION ITERATION # OBSERVATIONS: _ Increase in scale from the iterative models, perhaps giving an overall echo because each sound now spends longer reverberating inside the model. _ Moving around creates noticeable drop offs in sound amplification as per GH.
21.
23.
OBSERVATIONS: _ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.
OBSERVATIONS: _ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.
DESIRED RESULT_
AMPLIFICATION
VOCALS ACCOMPANIMENT BEAT
CLARITY ECHO
SOFTNESS
BROAD CATEGORY
26
FOCUSING
AMPLIFICATION
EFFECT & ECHO
CLOSEST TEST TO THE PARAMETERS FOR THE INTENTION
brief one
The ‘optimal geometry’ chosen at the end of the task. In the final project you can see how the acoustic shell takes inspiration from the upper part of this geometry, with the curved roof and the angeling of the sides to focus the sound.
ION 21
AWINGS @A3
75mm
27
brief two part one; the quarry and the scheme
28
29
Existing site amenities and mineral storage
Gentler slopes Steep cliff faces
Contemporary extraction area with valleys at a depth of ~12m
Islands left from unexcavated land from previous dig
B.
A. Water bodies, depth of ~14m
Aprox. water areas_ A. 14,600m² B. 121,000m² C. 11,700m²
C.
Total_ 147,3000m²
Existing entry point
Aprox. area_ 800,000m²
The site
Existing condition 1:10,000 @ A3
30
brief two TRANSPORTATION ROUTES FROM MELBOURNE CBD TO COLAC, THE CLOSEST RURAL TOWN TO THE SITE.
MELBOURNE
LAKE COLAC
AS THE CROW FLIES APROX. 128KM
GEELONG
COLAC THE SITE FREEWAY THROUGH GEELONG APROX. 1HR 55MINS
COLAC V-LINE SERVICE TO WARRNAMBOOL APROX. 2HR 04MINS LOCAL AMENITIES INCLUDE SUPERMARKETS, HEALTH CLINIC, POLICE STATION.
The site is a quarry near Colac in regional Victoria, about 2 hours from Melbourne. The site is still in use and due to Covid-19 restriction could not be visited. The site model was constructed from aerial imagery and some source photos provided by the quarry. 31
MUSIC SCHOOL_ PROVIDING A FULL COMPLEMENT OF MUSIC FACILITIES IDEAL FOR RETREATS AND CAMPS AS WELL AS SERVICING ANY LOCAL STUDENTS AND COMMUNITY MUSIC EVENS FROM THE LOCAL TOWNS SET UP TO TAKE WEEK-LONG VISITS FROM GROUPS OF MUSICIANS, FROM PROFESSIONAL TO SCHOOL ENSEMBLES OR ORCHESTRAS AMENITIES AND ACCOMMODATION TO BE FULL SELF-SUFFICIENT DURING ONE OF THESE CAMPS _ INCLUDING DINING, SLEEPING AND BATHING FULL TIME STAFF TO RUN THE CENTRE _ MANAGEMENT, RECEPTION _ MUSIC TEACHER IN RESIDENCE PROGRAM
FESTIVAL SITE_ FULL FESTIVAL SITE INCLUDING THE MAIN ACOUSTIC SHELL FOR PERFORMANCES AS WELL AS A SECONDARY STAGE AREA PERFORMERS CAN BE HOUSED AND CATERED FOR IN THE FACILITIES FOR THE MUSIC SCHOOL DURING THE RUNNING OF FESTIVALS ENTERTAINMENT ZONES _ INCLUDING CATERING AND FOOD _ AMUSEMENT ACTIVITIES, BY CUB-CONTRACTION _ SPONSORSHIP AND VIP AREAS _ GENERAL MINGLING AND RELAXATION SPACES ACCOMPANYING CAMPING SITE _ WITH APPROPRIATE AMENITIES FOR VISITORS TO STAY FOR FESTIVALS OF 3-4 DAYS DURATION _ INCLUDING DINING AREAS _ AS WELL AS THE NORMAL TOILETS AND BATHING FIRST AID STATIONS AS WELL AS TICKETING BOOTHS AND CROWD CONTROL THE FESTIVAL ARRANGED AS A PRICING WITH PATHS AND WAY-FINDING THROUGH THE RE-VEGETATED AREAS OF THE SITE DOWN TO THE ENTERTAINMENT AND DINING AREAS AND THEN ONTO THE PERFORMANCE SPACES FESTIVAL GOERS MOSTLY SEPARATED FROM THE MUSIC SCHOOL, PERFORMERS, TECHNICIANS AND ORGANISERS FACILITIES OVERLAP AND MAKE USE OF THE MUSIC SCHOOL AND ACCOMMODATION SPACES.
THE BRIEF_ 32
MUSIC SCHOOL_ RECEPTION ATRIUM OFFICES
PUBLIC
PRACTICE ROOMS
SEMI-PUBLIC
SMALL AUDITORIUM RECITAL ROOM ACCOMPANYING BACKSTAGE
brief two
AP AND G
SPATIAL/ARCHITECTURAL REQUIREMENTS
PRIVATE
DANCE STUDIO DRAMA STUDIO COMPUTER LABS VIDEO STUDIO
HIGH SOLAR ACCESS
STORAGE
CAN BE DARKER SPACE
MEETING ROOMS CONFERENCE STYLE ROOM KICTHENETTE & EATING
BLACKOUT
EXTERNAL SPACES AMENITIES
QUIETER SPACE
FESTIVAL SITE_ DINING_ LISCENCED VENUES SIT-DOWN DINING TAKE-AWAY DINING FOOD TRUCK BAYS OUTDOOR EATING LANDSCAPE
ACOUSTIC TREATMENT
ATTRACTIONS_ SPONSORS BOOTHS CARNIVAL STYLE ATTRACTIONS
ACCSS TO VIEWS
AMENITIES_ BATHROOMS WATER STATIONS FIRST-AID
COVERED
AUDIENCE_ TICKETING AND CROWD MANAGEMENT
OPEN-AIR
STAGE_ IMMEDIATE BACKSTAGE PERFORMERS AREA
INDOOR
SPATIAL REQUIREMENTS_
OVERLAP AND MIXING_
Diagramming out relationships between aspects of the program and drawing connections between the spatial requirements of the festival program and the school.
PROGRAM_
LOADING AREA SET AND PROP STORAGE
33
MUSIC RETREAT AND SCHOOL
CAMPING FACILITIES
CAMPING SITE
CENTRE AMENITIES AND ACCOMODATIONS
MAIN SITE ENTRY
REAR SITE ENTRANCE
DINING, AMENITIES, SPONSORS TENTS
SECOND STAGE
SITE ARRANGEMENT [NOT TO SCALE]
34
FESTIVAL EVENTS AREA MAIN STAGE
AUDIENCE
brief two SCHOOL PROGRAM_
DELIVERIES
Performance WORKSHOP
Visual arts
TECH AND CREW GREEN ROOM
AUDITORIUM
CHANGE ROOMS
SOUNDSTAGE
BACKSTAGE FOYER
ENSEMBLE ROOMS
FACILITIES
VIEWS TO THE LAKE
ENTRY
Front of House
AMENITIES
STAFF OFFICES
STUDIOS
BREAKOUT SPACE
RECEPTION
The corridor
CONFRENCE PRACTICE ROOMS
LINK BACK TO ACCOMMODATION
Outdoor space
PROGRAM_ The programmatic arrangement of the site was based of splitting into the precincts of the school and the festival site as well as the comping and accommodation, these were considered radially and with interrelationships as necessary for shared facilities 35
The site plan, moving from blocking and programmatic arrangements to the final iteration. 36
brief two RATTRAYS RD
MUSIC SCHOOL AND FESTIVAL SITE INITIAL BLOCK AND FUNCTIONAL RELATIONSHIPS
SITE ENTRY
POTTERS RD
ONDIT-WARRION RD
CAMPING AMENITIES
CAMPING SITE MUSIC SCHOOL
ACCOMODATION AND SCHOOL AMENITIES
SECOND STAGE
BACKSTAGE, TECH AND PERFORMER
MAIN STAGE
RE-VEGITATION
SITE PLAN 1:1000 @
A0
10 20
50M
37
Epicentre One The lake; a boulder dropped in the middle the birds fly, the water splashes onto the steep banks
Epicentre Three The instillation in the lake, as it lands everything ripples outwards from it, it crosses the two programs
Epicentre Two The concert; the crecendo is reached, the crowd rise, their voices join in with their clapping and admiration. The conductor turns and bows.
1:10000 @A3
38
0
10
20
50m
brief two ART WAVES_ Motif of two sets of intersecting waves, symbolic of sound waves and water waves, emanating from the water bodies and the acoustic shell, to define the overall master planning gestures. 39
Evolution of the impacts of the wave geometry on the school building’s form, to the interim plan which shows just the ordering principals. 40
41
brief two
PRECEDENT_ The Ian Potter Southbank Centre / John Wardle Architects Southbank, Melbourne (2019)
LINK: https://www.archdaily.com/935526/the-ian-potter-southbank-centre-john-wardle-architects?ad_medium=office_landing&ad_name=article 42
brief two PRECEDENT_ Slow House / Diller Scofidio + Renfro Long Island, USA (1993)
SLOW HOUSE was influential in two main aspects_ Firstly the use of a radial arrangement that defines the overall form of the house, referencing back to a central point of an arc. But also it focuses on a vector that is tangential to that arc, a view out over the ocean. The house is designed around view, or viewership and how that is pulled along a curve. The model for the house is split up into planes of sections, or views, that the occupant moves through. One of the designers, Elizabeth Diller, as an aspiring filmmaker in her youth, was interested in the relationship between view and viewer in the deisgn of this house. The dual motif of the waves and views that present in the final design are informed somewhat by the investigations into this deisgn.
LINK: https://dsrny.com/project/slow-house
43
brief two part two; acoustic optimisation
44
45
46
SOUND SOURCE
ITERATION 19 POSITION 1
960 332
850
sound source
ITERATION 23 POSITION 3
800 375
650 The shell took its inspiration from the learning from the first assignment, specifically how the golden spiral geometry focused the sound down onto an audience surface. An arc was chosen as the base shape for the shell, again to focus and channel the sound leaving the shell. 47
GEOMETRY GENERATION_ 48
brief two
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
STAGE CONTROL POINT
ARC DOOR OPENING HEIGHT NO OF SEGMENTS
ANGLE OF ROTATION
ROTATE 3D
ANGLE OF ROTATION
DIVIDE
SECOND PT ROTATE 3D
HEIGHT OF BACK
EXPLODE TREE
PENULTIMATE PT ALL OTHER PTs
MERGE TREE
NURBS CURVE
START PT
DIVIDE SHELL REACH DIVISION NO
START TANGENT - z axis
MOVE ORIGINAL PT
END PT
SHELL HEIGHT SHELL INCLINE
PARAMETRIC MODEL_ The definition of the shell is parametric so that it can be altered iteratively to generate variants for analysis in Pachyderm.
VECTOR
MOVE
VECTOR 2PT
BEZIER SPAN
END TANGENT
LOFT
MIRROR
49
SPL AVERAGE
2
3
5
1
STANDARD DEVIATION SOURCE 2
STANDARD DEVIATION SOURCE 1
4
6
Octopus outcomes graphed in three dimensions, an additional parameter was added upon the standard deviation of SPLs, the average, to make sure the outcome was also trying to achieve peak amplification as well as spread over the audience. 50
brief two PACHYDERM ANALYSIS
STANDARD DEVIATION SPL AVERAGE SPL
OBJECTIVES
PARAMETRIC MODEL
OCTOPUS
OCTOPUS SCRIPT_ Grasshopper definition that links in the pachyderm analysis and the parametric model to the octopus analysis.
SHELL INCLINE
SHELL HEIGHT
PARAMETERS
SHELL REACH
HEIGHT OF BACK
DOOR OPENING HEIGHT
CONTROL NUMBERS
Octopus uses the parametric model to generate iterations which are then tested and graphed against the objectives which in this case are the SPL average and Standard deviation. 51
ITERATION 01_
ITERATION 02_
ITERATION 03_
ITERATION 04_
SUCCESSFUL OUTCOME
HEIGHT OF BACK OF SHELL
HEIGHT OF BACK OF SHELL
HEIGHT OF BACK OF SHELL
HEIGHT OF BACK OF SHELL
DOOR OPENING HEIGHT
DOOR OPENING HEIGHT
DOOR OPENING HEIGHT
DOOR OPENING HEIGHT
SHELL HEIGHT
SHELL HEIGHT
SHELL HEIGHT
SHELL HEIGHT
SHELL REACH
SHELL REACH
SHELL REACH
SHELL REACH
SHELL INCLINE
SHELL INCLINE
SHELL INCLINE
SHELL INCLINE
52
brief two
ITERATION 06_
SPL AVERAGE
ITERATION 05_
2
3
5
1
STANDARD DEVIATION SOURCE 2
STANDARD DEVIATION SOURCE 1
4
6
HEIGHT OF BACK OF SHELL
HEIGHT OF BACK OF SHELL
DOOR OPENING HEIGHT
DOOR OPENING HEIGHT
SHELL HEIGHT
SHELL HEIGHT
SHELL REACH
SHELL REACH
SHELL INCLINE
SHELL INCLINE
Using Octopus to generate forms, the Pachyderm analysis looked again, as with brief one, at the SPL across the audience. The analysis looks to get an even distribution of the sound across the audience as well as a decent level of amplification. 53
ITERATION 01_
RAYTRACING
PLAN VIEW, SPL GRAPH
54
RAY TERMINATION POINTS
SOUND SOURCE 02_
SOUND SOURCE 01_
brief two HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB
Acoustic analysis of the selected geometry which became the final shell. This iteration was chosen because of its even spread across the audience surface as well as significant amplification. The shape also was desirable over other iterations, with a shallow arc and reach over the audience. 55
EVOLUTION OF THE SHELL_ The shell was initially a singular object, but this evolved to a dual shell, where th inner was acoustically optemised and the outer acting as cover for the front rows of the audience as well as housing the backstage. 56
57
‘Lath’ structure with a ‘membrane’ between, curved shape in two axes
TRANSLUCENCY_ With the shell now separated the motif of a leaf in light was used to define the tectonics — the outer shell and internal seam between the acoustic and outer shells would be clad in polycarbonate to let light permeate through as well as revealing the structure. 58
Light interactions vein structure show
with the leaf’s skin, translucent and not entirely opaque, wing through
59
PRECEDENT_ Centre Pompidou-Metz / Shigeru Ban France (2010)
LINK: https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects 60
Structure is exposed and laid bare when the translucent cladding is illuminated_ Firstly at night when the light is emanating from the internal spaces But also during the day the light illuminates the internal spaces 61
brief two part three; ref inement of program and site
62
63
111° 98°
90°
The sight-lines almost exist as a consequence of the waves, moving tangentially out from or directing focus inwards to. The overall implementation of the idea of viewership moved into section as well, in how the site is occupied, and into the programming and arrangemnets. 64
Festival
0°
Epicentre
The School of Art
VIEWERSHIP_ As well as the governing order of the waves intersecting, the viewership element was increased in the final iterations of the project — including for example in the school building, inspired by DS+R’s Centre for the Creative Arts at Brown University.
brief two
Performer
Audio
Spectator
Visual
MODES OF VIEWERSHIP_ How views are deployed across the site was broken down into four sectional relationships either between people or between the land and a single occupant/person. 65
MURCUTT’S ORIGINAL SKETCHING SHOWING THE ROOFLINE
PRECEDENT_ Magney House / Glenn Murcutt Bingie Point (1983)
LINK: https://architectureau.com/articles/magney-house-bingie-bingie-198284/ 66
brief two PRECEDENT_ Nest We Grow / Kengo Kuma Takinoue, Japan (2014)
LINK: https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-and-associates 67
PRECEDENT_ Centre for the Creative Arts / Diller Scofidio & Renfo Brown Univeristy, United States (2011)
School Building, reworking the sectional relationships between spaces either side of the central corridor, encourage interactions between those in the spaces and those moving through the building
LINK: https://dsrny.com/project/the-perry-and-marty-granoff-center-for-the-creative-arts 68
brief two PRECEDENT_ Tamedia Office Building / Zurich, Switzerland (2013)
Shigeru Ban Architects
LINK: https://www.archdaily.com/478633/tamedia-office-building-shigeru-ban-architects 69
New Wood Construction, ‘Detail’ (2014, no.2)
MATERIAL SYSTEMS_ With an ESD focus the site will make use of timber framing, specifically glulam structural members. As well, rammed earth will be used, with added connection to the site’s previous use as a quarry. 70
brief two Downton, Paul, Rammed Earth, ‘Your Home’ (2013) https://www.yourhome.gov.au/materials/rammed-earth
71
72
Detail Plan of the Acoustic Shell
brief two
Outer shell, polycarbonate cladding
1:100 @A0
Timber battening to sladding above, cruved to follow the shapre of the shell
Skin between two shells, polycarbonate cladding translucent with lighting system behind for night time light shows
Acousticly optemished shell, plywood internal skin supported by a lattice of battens behind
North south structural members linked into a continuous beam and column that links the inner and outer shell as well as the overhang Manufactured in thick glulam
Exploded Isometric of Structural System and Enclosure NOT TO SCALE
art waves
Section C-C ; School Building East-West
Studio 30 / Resonate Jeremy Bonwick / 697718
1:100 @A0
0
art waves
Acoustic Shell Section A-A
Studio 30 / Resonate Jeremy Bonwick / 697718
1:100 @A0
0
1
2
1
2
5m
5m
THE SHELL_ Refinement of the shell focused, apart from the acoustic optimization, focused on the relationship between the audience and the pavilions, their weight in the composition and the entry sequence 73
LIGHTING_ Qualities of lighting were best to be shown in the rendering. A night render was chosen for the main shell to show off the use of coloured lighting behind the translucent skin as well as the vibrancy created by the stage lighting. 74
brief two OPACITY_ Use of polycarbonate cladding on the outer shell and connecting surface to allow a soft light to diffuse and a glow to emanate, the structure is revealed behind, but only as a ghostly vestige.
STAGE LIGHTS_ Large format spotlights will be suspended from a rig from the outer shell with the capacity for 30 lights to be rigged as necessary, with controls run up and back to the control room.
WAY-FINDING_ Lighting will also be used to illuminate paths along the site, specifically the radial and wave paths, which further emphasizes the relevance of the geometrical order on the site.
IMAGES_ (L-R)
RESEARCH_ Into stage lighting and around the site. A large part of the lighting design though was the translucency of the material used to use natural light and defuse the artificial lights.
Herzog & de Meuron, Laban Dance Centre, London, 2003. [www.dezeen.com/2016/12/11/herzog-de-meuron-laban-dancecentre-new-photographs-jim-stephenson/] Stage Lighting for Students, Jeffrey E. Salzberg et al. [www.stagelightingprimer.com/index.html?slfs-fixtures. html&2] Veneto Lighting system [favaro1.com/it/lampade-led-peresterni/veneto-light/]
75
76
brief two LIGHTING THE STAGE_ Creating atmosphere was important with its design considerations, the atmosphere can be created through the ring of light around the stage behind the translucent cladding, turning it blood red for example. The lights concealed in the stage also give opportunity for lighting the subject from underneath, which could be dramatic when lit from the sides and below only, with no other stage lights, a method of Down Lighting. 77
78
brief two SITE WAY-FINDING_ Lighting is used across the site as a way-finding device. Given that performances are likely to run into the night it is important, for safety and ease of movement through the site amongst other things, to consider how people know which direction to move. The shell is a glowing beacon in the quarry area which attracts people to the correct direction to move, also the paths are lit on the edges with a glow. The overall effect is to also heighten the presence of the overall geometry on the site, the circular planning is picked out and accentuated, as is the installation in the centre of the lake. 79
reflection
80
This studio has been distinctly different from my previous, in fact almost polar opposite. Whilst last semester I was dealing with a 12m squared residential renovation, this semester as been concerned with the master planning of a site 800m on one side and almost a kilometer on the other. The sheer scale has been something of a challenge to grapple with, looking a drawing of a site so big it is easily forgotten how the inhabitation of such a site would be, when a line you draw is as thick as a terrace house. The relationships become very important for something so big, bringing things together even though they sit hundreds of metres apart, almost out of sigh. This is why very early on the overarching geometry was settled upon. This order, the waves of the project is inherently arbitrary, but has been something which has remained constant since quite early, despite some criticisms and questioning. During the midsemester crit Paul Loh called it very twentieth century, which is an interesting claim to level — almost insultingly it sounds out of date, but what it really meant was that the order seemed to sit in a universal space, something almost removed from the human experience. A Le Corbusier house sought to find the universal, an enlightenment, post-industrial mode of thought which says that order is something constructed. I think these ideas
reflection still have a lot of validity, and considering architecture in these ways should not be shoe boxed as ‘twentieth century’. Regardless, the order has remained but has been massaged more and more into the individual buildings on the site. The acoustic shell has seen the most evolution, the challenge there was obviously in coming to grips with the technicalities of the acoustic optimisation. I’ve said elsewhere in this journal that first task was great for getting a hands on feel for the properties of sound, and certainly this was felt by the end of the semester when the acoustic properties where becoming more and more intrinsic and intuitive. Choices become easier when you’ve bent a piece of paper and heard Black Betty’s driving beat amplified as happened in the initial model iterating process. The optimization in Grashopper tested the computer and the brain, but there was something quite satisfying about comparing the gradients of the surfaces scattered with SPL levels and then using this to make design choices. The school building, through many moments throughout the semester, became a safe haven. Something about planning at 1:100 spaces for occupation really appeals — and the school was no different. The program was laid out quite early on
and the evolutions came when the section was considered more closely, specifically implementing the idea of ‘learning through observation’. A simple idea but lead to a interesting exploration of levels and floor plate interrelationships. The school also allowed for an exploration in structure using timber, specifically engineered timber like Glulam or CLT. This has been something I wanted to explore for a while now, and this seemed an appropriate scheme to deploy this on given the background idea of revitalization in the quarry context — it seems right that a design here should be particularly ESD focused, not that all buildings shouldn’t be, as it tries to breath life back into a landscape. There is something also very satisfying about thick columns with presence in a space and its a material and structural system I will continue to consider going forwards.
powerful moving forward, and quite focused. The struggle this semester has always been for me trying to inject some level of conceptualism into the project, detailing and tectonics that have a thematic resonance, and I think that is there in the finished scheme. But the more the semester has gone on the more the realization has dawned that the learnings and engagement here has been with something different, something more pragmatic and technical. In a way I have tried to embrace that as its a rare opportunity to design something so specific and so niche. This isn’t another housing project, a school, a public space. This is an acoustic shell, on a rural site in Victoria. It is, or now was, very specific.
The biggest learning from the studio were undoubtedly the sensibilities towards the acoustic properties of as space — which in a way supersede the technical learning about Grasshopper analysis. The latter will be useful if ever conversing with an engineer, and definitely was a great insight and a testing challenge, but the aforementioned sensibility towards a surface or a space’s resonance, reverberation and amplification will be very
81
82
the drawings
83
84
85
the drawings
86
87
the drawings
88
89
the drawings
90
91
the drawings
92
93
the drawings
94
95
the drawings
96
97
the drawings
98
the appendix
99
Full set of Pachederm testing results as SPL graphs and heatmaps as well as raytracing.
100
the appendix
ITERATION 15_ Variant 01_ As per the physical model
ITERATION 15 1:5 DRAWINGS @A3
50
150mm
500
LISTENER
177
SOURCE
171 106
42
220
160
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.
_ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 83 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.46
101
ITERATION 15_ Variant 02_ Canopy lengthened, same sound source position
ITERATION 15_2 1:5 DRAWINGS @A3
50
150mm
500
LISTENER
177
SOURCE
171 106 220
42
160 140
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.
102
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.47
the appendix
ITERATION 16_ Variant 01_ Sound source centralised
ITERATION 16 1:5 DRAWINGS @A3
50
150mm
500
LISTENER
105
SOURCE
115 105
240
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.
_ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 74 dB MAX_ 116 dB STANDARD DEVIATION_ 1.07 or 0.47
103
ITERATION 16_ Variant 02_ Sound source pushed to the right side, mimicking the bottom speaker on iPhone X
ITERATION 16 1:5 DRAWINGS @A3
50
150mm
500
LISTENER
105
SOURCE
115 105
240
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Less consistent sound around the model. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.
104
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 68 dB MAX_ 114 dB STANDARD DEVIATION_ 1.09 or 0.47
the appendix
ITERATION 19_ Variant 01_ New version of iteration 16 with shell shape, source shunted to the back
ITERATION 19 1:7.5 DRAWINGS @A3
20
200mm
500
LISTENER
SOURCE 451 222 451
160
172
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Amplification quite significant _ Very high clarity, especially in S03 in the drum beats and high notes on the guitar, punchy vocals. _ Piano in S02 hits clean and lyrics very clear as well _ Amplification at the cost of any interesting acoustics.
_ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 91 dB MAX_ 103 dB STANDARD DEVIATION_ 0.94 or 0.42
105
ITERATION 19_ Variant 02_ Sound source towards the front, mimicking the front facing iPhone X speaker
ITERATION 19 1:7.5 DRAWINGS @A3
20
200mm
500
LISTENER
451
SOURCE
222 451
160
172
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.
106
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 102 dB STANDARD DEVIATION_ 0.97 or 0.44
the appendix
ITERATION 20_ Variant 01_ Sound source placed towards the back under the canopy
ITERATION 20 1:5 DRAWINGS @A3
50
150mm
500
SOURCE
LISTENER
230 161 106 230
190
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ No physical model produced for this geometry.
_ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 116 dB STANDARD DEVIATION_ 0.94 or 0.45
107
ITERATION 20_ Variant 02_ Sound source pushed into the front pouch
ITERATION 20 1:5 DRAWINGS @A3
50
150mm
SOURCE
500
LISTENER
230 161 106 230
190
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.
108
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 114 dB STANDARD DEVIATION_ 1.19 or 0.50
the appendix
ITERATION 21_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
171
375
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.
_ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 79 dB MAX_ 110 dB STANDARD DEVIATION_ 1.05 or 0.46
109
ITERATION 21_ Variant 02_ Spiral on its side, sound source placed in the base of spiral
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
171
375
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.
110
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 77 dB MAX_ 107 dB STANDARD DEVIATION_ 0.99 or 0.46
the appendix
ITERATION 21_ Variant 03_ Spiral placed vertically with sound source in its base
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
171
375
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.46
111
ITERATION 22_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
240
375
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.
_ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.
112
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 108 dB STANDARD DEVIATION_ 0.92 or 0.44
the appendix
ITERATION 22_ Variant 02_ Spiral on its side, sound source placed in the base of spiral
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
240
375
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 109 dB STANDARD DEVIATION_ 0.99 or 0.45
113
ITERATION 22_ Variant 03_ Spiral placed vertically with sound source in its base
ITERATION 21 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
240
375
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.
114
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.43
the appendix
ITERATION 23_ Variant 01_ Spiral on its side, sound source placed in the base of spiral
ITERATION 23 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
240
375
START
END
80
TIME
MODEL OBSERVATIONS_
DIGITAL OBSERVATIONS_
_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.
_ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 107 dB STANDARD DEVIATION_ 1.02 or 0.46
115
ITERATION 23_ Variant 02_ Spiral placed vertically with sound source in its base
ITERATION 23 1:10 DRAWINGS @A3
25
75mm
SOURCE
500
LISTENER
630 228
240
375
START
END
80
TIME
DIGITAL OBSERVATIONS_ _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.
116
110 SOUND PRESSURE LEVELS
SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 105 dB STANDARD DEVIATION_ 0.97 or 0.44
117
the appendix
THE GOLDEN SPIRAL_ Investigations into the golden spiral as a suitable acoustic geometry began with sketch musing and then moved onto digital models in Rhino for Pachyderm testing. 118
the appendix _ Looking sectionally at the models and placing the sound source. Output to drawings with rays and the section.
_ The termination points of the rays as they reach their 10th reflection or hit the audience or stage surfaces.
_ Final rendering of the SPL gradient over the audience surface and using a sphere to also represent the ray termination points with colour relative to time.
119
_ Desmond Paul Henry (1963)
_ Labanotation (C. 1928)
_ Mark Applebaum (2011)
Striation and overlapping, layers of information, a sense of intensity in the overlaps
“Labanotation or Kinetography Laban is a notation system for recording and analyzing human movement” Wikipedia
An experimental system for notation of music in his work ‘The metaphysics of notation’.
VISUALISING THE SAMPLES_ A quetsion was how to visually represent the music samples and how to then use that as a diagram to show the effects of the design on the perception of the music?
120
the appendix
CITY OF STARS RYAN GOSLING, LA LA LAND 2016 MUSICAL, SOLO SINGER
0:47
1:17
0
+10
+20
+30
WAVEFORM INTENSITY
LYRICAL
ACCOMPANYMENT
ATMOSPHERE
PUNCTUATION
‘ ~~ { ; . .}{ ‘; ~ ~ ~
-
,} ~ ~ ~ ~ ~
{ ‘; . .} { ‘;
-
,} ~~~~~
. * [ “ , . ... { ” ’ ; } ( ‘ ; . . “ ,’ } ; } ^ ~ ~ }~ ~
121
BLACK BETTY RAM JAM 1977 HAVY ROCK
3:08
3:38
0
+10
+20
+30
INTENSITY WAVEFORM
LYRICAL
ACCOMPANYMENT
ATMOSPHERE
PUNCTUATION
122
& &&
º ¿¿ & >> •• º• • ••• •O // & // & ¿ º º
¿¿ & &&& °•
//
// /
&°
•
&&
°• & ! ! ! ! !°• ! ! ! ! !°•
&
! ! ! ! !° •
&
! ! ! ! !° ! ! ! ! •
the appendix
LACRIMOSA ZBIGNIEW PRESISNER 1998 OCHESTRAL, OPERATIC
1:36
0
2:06
+10
+20
+30
WAVEFORM
INTENSITY
LYRICAL
ACCOMPANYMENT
ATMOSPHERE
PUNCTUATION
-- , -- ~ ~ ~ ~^ ~ ~~ , ~
~ / —, > , ~ ~ ~~ `` ..... .
!! !!!! ! !! , # # # .. !!!!!!!! !
!!!! ^ ^ . !!!! !!!! !!!! !!! . !!!!! ! ! / ^ . ! ! . ! ! ..
123
RAW SOUND_
iPhone X Held 500mm, speakers facing towards the subject. SAMPLE 01_ LACRIMOSA
SAMPLE 02_ CITY OF STARS
SAMPLE 03_ BLACK BETTY
OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_
Starts off slowly with the lyrics in a lower register. Strings are soft in the background. The mid toned organ comes in as the vocals increase in intensity.
The song sits in a mellow mid-tone, with the simple piano accompaniment sitting below the lyrics and an oboe coming into play towards the end of the sample.
There is a range of sounds in the sample, from the bass guitar to normal guitar and drum and symbol as well as the vocals. This creates a sense of dynamism and scale, each of the elements has their own distinct voice.
VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_
The vocals are on par with the accompaniment for the most part, the lyrics and operatic nature of the delivery blend the vocals almost beyond comprehension, the voice almost becomes another instrument in the orchestra.
The vocals hold the attention, they are clear and intelligible, there is a repeated line followed by a variant. The accompaniment supports the vocals.
The vocals are punchy and delivery in a very beat-like manner, very clear and falling in-line with the beats, the drum and cymbal hits fall under the lyrics. The guitar is given its own space outside the lyrics.
THE MELODY_
The melody is slow and selling, it is held by long string notes and drones from the organ. The melody goes up in pitch as the lyrics are repeated ending in the vocals in very high register.
The melody is built from a simple repetition of five notes on the piano, it follows the beat and sets the backing for the vocals.
The melody is subverted by solos from the various instruments, beginning with the guitar doing its own thing then the drummer going into a solo, it breaks the sample into segments.
PERCEPTION OF THE BEAT OR RHYTHM_
The sample features the pre-chorus element which builds to the crescendo of the chorus which is a basic repetition with slowly building tone.
The beat is only perceived as a consequence of the accompaniment, there is no beat held by drum or similar, just the tempo of the music, yet it is quite perceivable due to the repetition.
The beat is very strong as the drum holds it throughout and creates a contrast between the solo elements which individuate themselves from the beat and stricture of the song.
GENERAL ATMOSPHERES_
The general atmosphere is large scale, sweeping and almost religious because of the organ. The scale is built in the long drawn out notes and in the sweeping vocals.
There is a lightness and playfulness but also a heaviness to the song, the slowness holds onto notes and creates an almost hopseful atmosphere.
There is a busyness and a individuality to the song and its elements, almost as if everything is competing. The high tempo nature makes it run away from itself as the beat progresses.
124
the appendix ITERATION 13_ Conic shape, overlapping two simply folded surfaces, sound held within and projected from the top opening and seeping though the small side overlaps.
SAMPLE 01_ LACRIMOSA
SAMPLE 02_ CITY OF STARS
SAMPLE 03_ BLACK BETTY
OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_
The high notes of the operatic vocals have been brought down or at least muffled slightly.
There is a perceivable blending of the tones.
_
VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_
_
_
The mix of the instruments and vocals are condensed as the overall mix is brought closer together.
THE MELODY_
The melody is less distinct.
The piano has some clarity.
_
PERCEPTION OF THE BEAT OR RHYTHM_
_
_
The beat is still very obvious but its paunchiness has been reduced.
GENERAL ATMOSPHERES_
The muffling gives the song an overall ethetial element.
_
Overall the reverb has softened the song.
125
ITERATION 15_ Two separately folded planes, one encasing and the other directing the sounds out.
SAMPLE 01_ LACRIMOSA
SAMPLE 02_ CITY OF STARS
SAMPLE 03_ BLACK BETTY
OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_
_
_
The bass has maybe been clipped slightly but the treble is not too harsh either.
VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_
The vocals have more prominence and especially the high notes towards the end of the sample have an increased clarity without sounding tinny. The quieter start is more noticeable now and pushes past the vocals at times. It sounds more sweeping and grand, building up the the full chorus. _
_
_
Piano melody, especially higher notes seem to be amplified more so than otheres.
The guitar is less perceivable as the previous iterations reproduction.
_
The punches of the beat are quite perceivable. The drum solo has increased clarity.
_
Good reproduction and amplification seems quite consistent.
_
THE MELODY_
PERCEPTION OF THE BEAT OR RHYTHM_
GENERAL ATMOSPHERES_
126
the appendix ITERATION 16_ Four sides, each with facating and folding to bounce the sound around inside, omnidirectional with four openings on the sides.
SAMPLE 01_ LACRIMOSA
SAMPLE 02_ CITY OF STARS
SAMPLE 03_ BLACK BETTY
OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_
_
_
Bass has been restored from the previous iteration.
VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_
The mix has been condensed and again the vocals start to feel like an instrument sitting amongst the orchestra.
_
The vocals have an edge here maybe, overrunning the beat that sits under them.
THE MELODY_
The persistence of the melody is more perceivable, its repetition. Overall also the sweeping tones are almost echoed around in an interesting fashion. _
The piano is perhaps more distinct.
_
_
_
Unique quality when listened in omni-directional fashion, seems to emanating from somewhere ethereal, quite an interesting effect.
Reproduction relatively similar.
Almost a concert quality to the sound. The clarity is very good overall and reproduces the punches of the song well.
PERCEPTION OF THE BEAT OR RHYTHM_
GENERAL ATMOSPHERES_
127
First batch of water testing was less successful given the size of the waves and the background making it harder to see the waves. 128
the appendix Looking at the effects of simple 2D gestures being transformed into 3D geometries through cutting an folding of flat planar surafces. 129
Results from Acoustic Analysis of the shell form. Iteration one was chosen because of its even spread a mix of amplification as well as the integration with the outer shell over the top and reach over the audience to provide shade and enclosure.
130
the appendix
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 01_
PLAN VIEW, SPL GRAPH
SHALLOW ANGLE AND LOW BACK OF THE SHELL, OVERHANG TO BOUNCE THE SOUND
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
131
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 02_
PLAN VIEW, SPL GRAPH MINIMAL OVERHANG AND HIGHER SHELL STRUCTURE
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
132
the appendix
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 03_
PLAN VIEW, SPL GRAPH
FLATTER PROFILE BUT WITH NO OVERHANG
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.52 _ SOURCE 02 39.48 AVG. SPL _ 79.80 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
133
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 04_
PLAN VIEW, SPL GRAPH
ARC-LIKE PROFILE AND LITTLE REACH OVER THE AUDIENCE
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.92 _ SOURCE 02 39.48 AVG. SPL _ 79.04 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
134
the appendix
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 05_
PLAN VIEW, SPL GRAPH
LARGER BACK FLAT SURFACE AND INCLINE IS GREATER
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 04.67 _ SOURCE 02 38.98 AVG. SPL _ 79.72 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
135
SOUND SOURCE 02_
SOUND SOURCE 01_
ITERATION 06_
PLAN VIEW, SPL GRAPH
VERY FLAT PROFILE AND LARGE REACH OVER THE AUDIENCE
RAY TERMINATION POINTS
ISOMETRIC, SPL GRAPH
STANDARD DEVIATION _ SOURCE 01 17.70 _ SOURCE 02 41.06 AVG. SPL _ 77.16 dB
HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE
136
137
the appendix
INITIAL USE OF OCTOPUS TO ANALISE A SECTION OF THE SHELL, A SIMPLE PARAMETRIC MODEL WAS USED TO MIMIC THE ARC OF THE SHELL AND THEN PLOTTED ON THE GRAPH
INITIALLY USING A FLAT SURFACE FOR THE AUDIENCE, THE FIRST GENERATIONS WERE MADE TO SEE THE OPTIMAL SOLUTIONS WITHOUT THE COMPLEXITY OF THE ANGLED SURFACE, THE DEFINITION WAS REFINED TO BE CLOSER TO THE SOLUTIONS DISCOVERED FROM THESE GENERATIONS TO BE OPTIMAL.
138
the appendix USING JUST STANDARD DEVIATION RESULTS VARIED THE PARETO FRONT SEEMED TO PICK UP PREDOMINANTLY ON THE EVENNESS OF THE SD WHICH LEFT THE SOLUTIONS WITH MAINLY MID-RANGE SPLs
ADDING IN A THIRD AXIS FOR ANALYSIS AVERAGE OF THE SPLs ACROSS ALL THE DATA FROM BOTH POINTS THIS MEANT THAT SOLUTIONS WITH LOUDER AMPLIFICATION COULD BE FOUND WITHIN THE DATA SET
139
POST-FORMED SHELL ITERATION BECAME FORM FINDING FOR THE SHAPE OF THE SHELL AS IT WAS SUGGESTED THAT A POST-FORMED SHELL MAY BE DIFFICULT TO DEFINE AND OPTIMISE
140
INVESTIGATIONS INTO POST-FORMED GRID SHELLS USING KANGAROO IN GRASSHOPPER USING TUTORIALS FROM ALBERTO PUGNALE THE FINAL SHELL SHAPE NEEDED TO PROJECT SOUND IN A FOCUSED DIRECTION SO EXPERIMENTING WITH STRUCTURE AND CLADDING TO DO SO.
Cladding on the internal face Grid shell and cladding detail 1:5 @A3 Cladding on the external face
Light
Light
External Timer Laths
Polycarbonate Cladding Internal
Laths connection system, allowing localised movements
External Polycarbonate Cladding
Timer Laths
Internal
141
the appendix
142
the appendix
INTERVENTION SHADOW ANALYSIS_
SPRING/AUTUMN
SUMMER
1600
1200
0900
WINTER
143
SCHOOL DEMOGRAPHIC RESEARCH_
TRINITY COLLEGE —
COLAC SECONDARY COLLEGE —
COLAC PRIMARY SCHOOLS —
BEEAC PRIMARY SCHOOL —
PRIVATE SCHOOL
PUBLIC SCHOOL
PUBLIC SCHOOL
PUBLIC SCHOOL
750 pupils, 90 year 12
484 pupils, 40 year 12
Between pils at schools tre and
Closest school, north of the site 33 pupils
SCHOOL CAMPS FROM MELBOURNE
UNIVERSITY AND PRIVATE
Music camps from private and public school, catering for week long stays in the accommodation
Higher education and private groups from Melbourne or the local areas
OPERATE BUSES FOR AFTER SCHOOL AND DURING SCHOOL HOURS ACTIVITIES ON THE SITE
144
239 and 186 pueach of the 3 in the city cena further
PROVISION OF AFTER SCHOOL CARE AND ON-SITE STUDY SPACES, AN EXTENSION OF THE SCHOOL SPACES
the appendix 100m 250m
500m
The Site
1:50,000
YEARLY AVERAGE WIND ROSE Melbourne
Mount Gellibrand Wind Station
Port Philip Bay Geelong
Colac
Lake Colac
Wide context drawing from mid-semester that was not used as the Miro board included broad site context information.
Princess Hhy Colac, Victoria is just under two hours from Melbourne by car driving along the Princess Highway, and just over two hours by the Warrnambool v-line service. The site itself is a further ten minute drive north of Colac and sits aproximatly one hundred and twenty eight kilometers from Melbourne GPO. Colac station
145
PRECEDENT_ Hollywood Bowl USA (1922)
LOOKING AT THE EXPANDING SEATING PATTERN, HOW WOULD AUDIO QUALITY BE AT DIFFERENT DISTANCES? SHAPE OF THE SHELL IN SECTION
LINK: https://www.hollywoodbowl.com/
146
the appendix
PRECEDENT_ Radio City Music Hall / Edward Durell Stone & Donald Deskey Manhattan, USA (1932)
AGAIN ANOTHER PRECEDENT FOR THE INTERNAL LAYOUT OF THE AUDITORIUM SPACE — INFLUENTIAL FOR BOTH THE OUTDOOR AUDITORIUM AND THE INDOOR THEATRE SPACE IN THE SCHOOL BUILDING ALSO NOTABLE THE BACKSTAGE AREAS AND THEIR ARRANGEMENT AND THE FRONT OF HOUSE. AS A MASSIVE AUDITORIUM HOW DO THEY GET PEOPLE IN AND OUT QUICKLY.
LINK: https://www.archdaily.com/792104/ad-classics-radio-city-music-hall-edward-durell-stone-and-donald-deskey?ad_ medium=gallery
147
First Floor 1:1000 @ A3
Ground Floor 1:1000 @ A3
Ground Floor 1:200 @ A0
First Floor 1:200 @ A0
5
IT BECAME OBVIOUS THAT THE CENTRAL CORRIDOR SHOULD BE A SEGMENT OF THE ARC INSTEAD OF STRAIGHT, THIS WILL TIE IT CLOSER TO THE OVERALL SITE PLANNING. ALSO THE SCALE OF SOME OF THE SPACES NEEDED TO BE CONSIDERED CLOSELY. THE LAST ITERATION CONSIDERED MORE CLOSELY THE BUILDING’S ARCHITECTURE TOO, WHEREAS THIS IS MERE WALLS AND DOORS. 148
10
20
50m
149
the appendix
PRECEDENT_ Vineyard House / John Wardle Architects Tuerong, Victoria (2004)
LINK: https://www.johnwardlearchitects.com/projects/vineyard-residence/
150
the appendix PRECEDENT_ BUGA Wood Pavilion / Archim Menges University of Stuttgart, Germany (2013)
LINK: http://www.achimmenges.net/?p=20987
151
SCHOOL BUILDING REWORKING_
OVERALL PROGRAM SHIFT REALLY BECOMING A MORE INTEGRATED ARTS SCHOOL, SO LESS CONFERENCE ROOMS, MORE STUDIOS, WORKSHOPS FOR VISUAL ART ETC. PRIVATE SPACES, NOT VIEWED, PRACTICE ROOMS, COMPUTER LABS, DARKROOM, STORAGE
STAGE AND BACKSTAGE
FFL LOWER LARGER PRACTICE ROOMS, CONFERENCE SPACES, STUDIOS PERFORMATIVE
CIRCULATION MOVING THROUGH THE BUILDING STOPPING AND PAUSING ON THE ARC TO VIEW TANGENTIALLY
152
the appendix
SECTIONAL RELATIONSHIPS SKETCHING OVER STRUCTURAL MODEL_
SECTION PERSPECTIVE TESTING_ 153
BAR AND DINING VIP AND SPONSORS
KITCHEN AMENITIES
VIP Pavion
ACCESS FROM FESTIVAL SITE
VIEWING PLATFORM
- -
AMENITIES
STAGE
ACCESS - -
CROWD MANAGEMENT
Audience
GATED
TICKETING
Performance
FESTIVAL SITE INCLUDES DINING AND AMENITIES
WINGS
Front of House BACKSTAGE GREEN ROOM STORAGE
TECH AND CREW
CHANGE ROOMS
PRESS AMENITIES PRESS ROOM
PERFORMERS SPACE
FACILITIES
Behind the stage
GREEN ROOM
LINK BACK TO ACCOMMODATION
Performer’s pavilion
OVERALL SITE PROGRAM DIAGRAM_ 154
ROAD AND DELIVERIES
the appendix DELIVERIES
Performance WORKSHOP
Visual arts
TECH AND CREW GREEN ROOM
AUDITORIUM
CHANGE ROOMS
SOUNDSTAGE
BACKSTAGE FOYER
ENSEMBLE ROOMS
FACILITIES
VIEWS TO THE LAKE
ENTRY
Front of House
AMENITIES
STAFF OFFICES
STUDIOS
BREAKOUT SPACE
RECEPTION
The corridor
CONFRENCE PRACTICE ROOMS
LINK BACK TO ACCOMMODATION
Outdoor space
SCHOOL PROGRAM DIAGRAM_ 155
journal notes and annotations
156
157
the appendix
158
159
the appendix
160
161
the appendix
162
163
the appendix
164
165
the appendix
166
167
the appendix
references
Antemann, Martin. (2014).‘Seven Storey Wood Office Building in Zurich’, Detail, Vol.1 2014, Schittch, Christian (eds), 174. Cornachio, Jon. (no date stated). ‘Stronger Than Steel: Shigeru Ban’s Glulam Revolution’. Architizer. https://architizer.com/blog/ inspiration/collections/shigeru-banglulam/ Downton, Paul. (2013). ‘Rammed Earth’, ‘Your Home’. https://www. yourhome.gov.au/materials/rammedearth Energy Architecture. (2020). ‘ESD / Eco Design’. http://www. energyarchitecture.com.au/about-us/ esd-environmentally-sustainabledesign-eco-design/ Holding E. (2000). ‘Staged Architecture: The Work of Mark Fisher’, Wiley. Mirra, Gabriele (et al.). (2018) ‘An automated design methodology for acoustic shells in outdoor concerts’, Euronoise . https://journals.sagepub.com/ doi/10.1177/1351010X19893593 Pugnale, Alberto. (2018). ‘Integrating Form, Structure And Acoustics: A Computational Reinterpretation Of Frei Otto’s Design Method And Vision’, Journal of the International Association for
168
Shell and Spatial Structures no. 59 (vol. 1), 75. Salzberg, Jeffry E. and Kupferman, Judy, ‘Stage Lighting for Students’, www.stagelightingprimer.com/index. html?slfs-fixtures.html&2 Schafer M. (1993). ‘Soundscape, Our Sonic Environment and the Tuning of the World. Inner Tradition’. TedED, David Byrne. (2013) ‘How architecture helped music evolve David Byrne’. https://ed.ted.com/ lessons/how-architecture-helpedmusic-evolve-david-byrne
NOTE_ ALL ARCHITECTURAL PROJECT USED AS PRECEDENT ARE REFERENCED AT THE BOTTOM OF THE RESPECTIVE PAGES.
169
170