Dr 2015 lily papadopoulos part1 by Lily

Cyprus City Maps

Implication of Musical Towers at an Urban Scale- Orchestral Composition Each tower has a specific instrument applied to it to allow for an orchestral piece to be played. As one walks through the city they witness the various sounds according to where they are standing in space. The communication at times is random to allow for improvisation and at other times specific pieces are played.

Key

Musical Towers- Each tower has a specific instrument applied to it. Changes every time according to what would be played Tower 1 323

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Tower 6

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An Urban Orchestra

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Architectural musical instruments as tools of reconciliation

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Content 0.0. Introduction 0.1 Unit 22 Agenda and Project Starting Point 0.2 Context and Politic History

1.0 Building Form Systems, Planning and Context 1.1 Site Analysis 1.2 Acoustic Site Analysis 1.3 Program Analysis 1.4 General Accomodation Arrangement Cyprus

1.5 Overal Environmental Strategy 1.6 Access and Circulation 1.7 Overal Structural /Construction Strategy 1.8 Overal Construction Sequence 1.9 M and E and Sanitation Systems 1.10 Acoustic Research and WW1 Sound Collector Instruments

0.0. Introduction 0.1 Unit 22 Agenda and Project Starting Point 0.2 Context and Politic History

UNIT 22 2014 - 2015: INNOVATION FOR LIVING The unit will investigate whether a better understanding of Generation Z and their capacity to empower themselves through design, when considered as first class citizens will produce the capacity to reshape cities with a remarkable legacies and outstanding heritage. WHY SHOULD WE EMPOWER THE LEGACY OF GENERATION Z? The process in which ‘free time’ became ‘consumption time’ began in the second half of the nineteenth century. This threw the concept of public space into crisis as it began to be conceived not only as an element for exercising (political) control, but also for financial gain. Thus, cities became the objects of rational and utilitarian planning, which have redefined the field of architecture. Children, agents participating only in the industrial and economical development of Europe as false adults, became second-class citizens. Public space has been redefined to transport and provide, to buy and sell. For years, cities did not recognize any rights for children, giving them little or no space to dream, learn, interact, inform or contribute to society. Modernity has thus far made only a few shy attempts to reshape this ideology. A significant turning point in this process of restructuring, took place during the 1960s, demonstrated by numerous expressions of social discontent, in the form of art or public protest which have continued throughout recent decades, The festive subversion and anti-authoritarian outbursts from playful logic began to be employed as political tools in an attempt to generate alternative ways of making and contemplating the city, as well as organizing community life [2]. While this sensibility from the 60’s has widely influenced pedagogy, the architecture of schools, nurseries, playgrounds and sport areas and the city as a whole have not been revisited. Public space is still dominated by the car that facilitates the transportation of some citizens to and from their private homes, workplaces or centre’s of consumption. Councils are increasingly overwhelmed by transport problems, which often disregard the friendliness and quality of the public realm in urban environments. Generation Z are weak and vulnerable in our public spaces (both virtual and physical) and limited reserve of public buildings because rights have increasingly been transferred to the producers and consumers leading the market to redefine the way we live and interact with each other within the urban landscape. In the last decade, the idea that a socially conscious design can empower people has become popular. Those practicing ‘empowerment through design’ think innovation can be used as a catalyst for positive change in our society. The notion of empowerment is usually orientated to vulnerable groups and paying careful attention to their ignored rights. Generation Z can therefore benefit from the theory and practice on empowerment. Our design strategies will be conscious of others needs producing architectures which are flexible, visible and usable. Users’ feedback will become a crucial tool to critique our role as designers. Applying empowerment as a socially conscious design methodology can be viewed as a positive force, which will enhance the capacity of Generation Z to production inclusive and livable environments in the future. This bigger presence can constitute a legacy with remarkable material value, which will become valuable custom to pass on to the future. We are especially interested in the fabrication of heritage buildings and urban environments that benefit not only their owners and direct users but also the local community as a whole, impacting upon the ecosystem in the municipal area.

Project Starting Point

Site: Nicosia Cyprus, Buffer Zone User: Generation Z as post war builders. The aim of this project is to implement the element of ‘play’ into a wounded landscape such as the Nicosia buffer zone which divides the island (the last divided city in Europe) between the southern Greek and northern illegally occupied Turkish side. This ‘no –man’s land’ has been frozen in time, where abandoned buildings now lie as ruins, untouched by human activity. What would happen if the politically aware and curious children of Nicosia are given tools of empowerment in this sensitive area and how would this influence Nicosia’s culture and divided society? Architectural towers injected into the divided ruins along the buffer zone would empower the children, allowing them to view the ‘other side ‘of their country. However I discovered another tool of empowerment and means of communication between the two sides- sound and music. The Ramallah concert became a key ingredient of inspiration for the project; The West-Eastern Divan Orchestra-a youth orchestra founded in1998, consisting of musicians from Israel and Arab countries. The emotional conductor stated “It is our belief that the destinies of these two peoples, Israel and Palestine, are inextricably linked ... either we all kill each other or we share what there is to share. It is this message that we have come here to bring.” Through music, messages were shared and communication started to occur between two communities in conflict. My proposal is to apply this concept into Nicosia by designing musical towers which would sit within the decaying buildings along the buffer zone. The geometry of each tower would allow for sound to be amplified, focused, or directed through the means of parabolas and sound mirrors, allowing for a unique way of communication between the towers. The geometry and materiality of the towers would also allow for the building to be played upon. The towers remind us of the typology of the Mosque and Church tower but in this case music, whispers and whistles create an eventful atmosphere, similar to a carnival, where one can enjoy unexpected sounds coming from both sides of the city. One can enjoy listening from his private balcony, from a midnight stroll or a day at the market.

1:6 Models to Test Initial Concepts Within this model I was testing the structural capacity of a timber frame structure that would hold various musical chambers that would trigger a performative communication In the model on the left I have tested the method of forming clay to replicate concrete nd forming it into a curved sculptural form to tesr acoustic systems. The tower would also sing in the wind through the hollow metalic pipes.

Project Starting Concept

Acoustic research of sound communication implicatedinto an architectural design which allows for static objects to become musical instruments. Amongst the Nicosia tower landscape of Mosques and Churches the proposal would be to add on to new heritage/legacy whereupon these new towers act as musical instruments of reconciliation in the divided city of Nicosia.

Perspective Section-1:100

Tower of Percussion

Tower of Wind

Division Line

16 Sound communication across the buffer zone due to parabolic architectural geometry

5 6 13 4

3 1

Nicosia Buffer Zone

Existing Divided Ruin which is located either side of the buffer zone

Space of practice- sand bags from the military zone allow for sound to be absorbed, therefore the sound is contained. The irregular patterns of the bags allow for the sound to be diffused and to be clearer.

Space where water is contained-as the level of water changes so does the pitch of the sound change. Sound from the sound mirrors are funnelled here.

Perfomance Space-Sound from the sound mirrors is delivered here-the eliptical shape allows for sound to have a focus point which is the center under the parabolic dome. Sound is collected from here to be delivered outwards.

5 Sound Diffusers sculted into the wall to limit reverberation.

10 Sound Diffusers sculpted into the wall to limit reverberation.

6 Sound is let out

11 Conical funnel allows for sound to travel upwards

7 Parabolic sound mirror allows for whispers to music perfo-

mances to be picked up from the opposite tower due to its parabolic shape and focus point. This is the sound collection point.

8 An outdoor perfomance space which opens up in front of

12 Practice Space-Ribbed structure reinforced with metalic

balls. The material allows for reflection but the spherical shape also allows for diffusion to limit reverberation. Less material is filled up us you go up allowing for sound to escape at street level.

the sound mirror.

9 Sounds which are quieter are placed here where they can

travl further because of the height. The parabolic dome here cretes a focus point.

13 Perfomance Space-Sound from the sound mirrors is deliv-

ered here-the parabolic dome allows for sound to have a focus point which is the center under the parabolic dome. Sound is collected from here to be delivered outwards.

Parabolic sound mirror allows for whispers to music perfomances to be picked up from the opposite tower due to its parabolic shape and focus point. This is the sound collection point.

An outdoor perfomance space which opens up in front of the sound mirror.

Sounds which are quieter are placed here where they can travl further because of the height. The parabolic dome here cretes a focus point. Look at sound research booklet for further information on the geometries/sound

Project Starting Point Tower 1 Design

Sound is played and moves upwards through a lattice structure which is filled with material which reflects and dissipates sound allowing it to escape towards the top. Further on sound is gathered again and projected through a fourway trumpet to the other side of the buffer zone.

Tower Architectural Strategy

The Primary Vibrator is the part that creates the sound. In a violin, cello, or piano it's the string. The Resonant Vibrator is the part that makes the sound louder through a process called resonance. In a violin, guitar, or piano it's the soundboard. The Sound Effuser is the part that focuses and helps to project the sound toward the audience. In a violin it's the f hole, in the guitar it's the sound hole, and in the piano it's the opened lid.

Project Starting Concept Poetic Dialogues

A metronome becomes part of the structure in all of the units throughout the buffer zone so that they could keep to one rhythm Organic shaped towers, embracing the natural decay of the ruin which straddles along the buffer zone.

A steel framework creates the outline of the geometric towers which influence the acoustics of the space.

Towers have open areas where sound is allowed to come in for there to be a response in the musical storytelling

Materials found in the area could be reused as cladding tiles for the towers-such as roof tiles.

Sound amplifiers transmit music from one tower to another

The towers give access and a chance of exploration of the ruin where spaces can be used for dancing from incoming music.

0.0. Introduction

Context

0.1 Unit 22 Agenda and Project Starting Point 0.2 Context and Politic History

Timeline of Cypriot History This is a timeline of Cypriot history, comprising important legal and territorial changes and political events in Cyprus and its predecessor states. -11th century BC-1400 BC-Hellenization of Cyprus after the colonization of Mycenaeans -10th century BC-1000 BC-Emergence of the City States and eventually the Ten City States. -15th century-1489-The descendants of Guy of Lusignan ended their rule of Cyprus.-Cyprus became an overseas colony of the Venetian Republic after having been purchased from the last member of the Lusignan dynasty.-Ottoman Turks raid Karpas Peninsula -16th century-Ottoman Turks attack Limassol. -1570-Nicosia falls to the Turkish invaders. 20,000 Nicosians, Greek and Latin, are killed in the aftermath. About 1,000 survivors are bound and shipped out to be sold in the Constantinople slave markets. -19th century-1821-The Cypriots sided with Greece in a revolt against Turkish rule. The island’s leading churchmen and notables were executed as punishment. 20,000 Christians fled the island. -1878-British occupation began. The British took over the administration of the island, by mutual agreement, in order to protect their sea route to India via the Suez Canal. In exchange, Britain agreed to help Turkey against future Russian attacks.

20th century-1931-Greek Cypriots demanding Enosis, the union with Greece, instigated their first serious riots. The government-house in Nicosia was burned down; martial law was declared afterwards and the legislative council was abolished. The Greek National Anthem and the display of the Greek flag were banned. The British invented the terms “Greek Cypriot” and “Turkish Cypriot” and used the latter against the “Greek Cypriots” so as to cease Enosis demands. -1958-First of 2 days of serious rioting by Turkish Cypriots. Seven were killed by British security forces -The first massacre between Greeks and Turks on Cyprus. British police released from arrest a group of 35 Greeks in the region of Guenyeli. A Turkish mob attacks the unarmed group, killing some of them -1960-British occupation ended. The British, Greek and Turkish governments signed a Treaty of Guarantee to provide for an independent Cypriot state within the Commonwealth of Nations and allow for the retention of two Sovereign Base Areas at Akrotiri and Dhekelia. Under the treaty, each power received the right to take military action in the face of any threat to the constitution. Cyprus became independent of foreign rule. The Greek Cypriot Archbishop Makarios became the first president, with Turkish Cypriot Dr. Kutchuk his vice president. Both had the right of veto. Turkish Cypriots, who formed 18% of the population, were guaranteed the vice-presidency, three out of ten ministerial posts and 30% of jobs in the public service. They were further guaranteed 40% representation in the army and separate municipal services in the five major towns. Overall, a very complex constitution was drafted, which demanded a majority of votes overall as well as within each community for many decisions.

The Island of Cyprus

-1974- Turkish Invasion of the Island Of Cyprus

To be Updated

1.0 Building Form Systems, Planning and Context 1.1 Site Analysis 1.2 Acoustic Site Analysis 1.3 Program Analysis 1.4 General Accomodation Arrangement 1.5 Overall Environmental Strategy 1.6 Access and Circulation 1.7 Overal Structural /Construction Strategy 1.8 Overal Construction Sequence 1.9M and E and Sanitation Systems 1.10 Acoustic Research and WW1 Sound Collector Instruments

Schools, Libraries and and Markets

Other Important Landmarks such as

Mosques and Churches

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Sunset/Sunrise

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ay/ East med er/ Na

Wedd ing Be lls Funer al B ells Sunda yB ell s

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Fun era lB ell s

Wed din gB ell s

Nameda y/

Sun day Be ll

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Sunset/Sunrise

mas Bells rist Ch

Reference: Published by D Survey, Ministry of Defence , United Kingdom , 1965

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Westerly Prevailing Wind

Sound Propogation of Greek church over certain events during the day-seasons-more random coordination

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Sunset/Sunrise

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Sound Propogation of Mosque/Prayer, developed over sunrise and sunset

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St Sophia Mosque- Main Prayer of Nicosia today 2015

Sunset/Sunrise

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Key

Soundscapes of the Religious elements of Nicosia. The Church bells ring on sunday mornings, on greek namedays, funerals and weddings. They also ring during Easter festivities and Chritmas. You can usually hear them on a more random basis compared to the Mosque and the prayer. This is more of a daily system which you can hear echo against the city fabric when the sun sets and rises.

Religious Sound Map/Timetable

Sunset/Sunrise

r/Christmas ste B Ea

s ell

Cyprus City Maps

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There is an overall serenity in this urban layer

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Natural environment has increased the amount of animals and insects in this zone

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Rain touches on the decaying fragmented materiality of the ruin creating a unique soundscape

Wind paths intefer with the ruins, (bullet holes) etc and whistle past

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Key

This piece of land has been frozen in time for 40 years. Untouched by humans it has become a natural landscape which grows and becomes a natural sounbox/resonator for the forces of nature such as the wind, rain and animals.

Buffer Zone Nicosia , Natural Sound Map

Cyprus City Maps

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Reference: Published by D Survey, Ministry of Defence , United Kingdom , 1965

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Sound communication between the towers

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Tower 6

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Tower 1

Musical Towers- Each tower has a specific instrument applied to it. Changes every time according to what would be played

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Key

Each tower has a specific instrument applied to it to allow for an orchestral piece to be played. As one walks through the city they witness the various sounds according to where they are standing in space. The communication at times is random to allow for improvisation and at other times specific pieces are played.

Implication of Musical Towers at an Urban Scale- Orchestral Composition

Cyprus City Maps

Seismic Analysis of the Site Cyprus is situated within the second intensive seismic zone of the earth, that of the Alpine-Himalayan belt. This zone extends from the Atlantic Ocean along the Mediterranean basin through Italy, Greece, Turkey, Iran and India to the Pacific Ocean. The earthquakes occurring in this zone represent about 15% of the world seismic activity. Cyprus is considered by most workers to be situated on the southern side of the Anatolian Plate, just north of the African Plate. Its seismicity is attributed to the â&#x20AC;&#x153;Cyprus Arcâ&#x20AC;? (Figure S1)which constitutes the tectonic boundary between the African and Eurasian lithospheric plates in the region. The Cyprus Arc starts from the gulf of Antalia, where it joins the Hellenic Arc, passes west and south of Cyprus and extends towards the gulf of Iskenderun in the east where it joins the Eastern Fault of Anatolia. The Cyprus Arc constitutes the zone of subduction of the African Plate under the Eurasian Plate (Figure S2). Many epicentres are concentrated along the arc, indicating that the tectonic movements along it are the cause of many earthquakes, several of which are strong. Examples of earthquakes experienced in Cyprus are the one on 23rd February 1995 in the northwest of Pafos and on 9th October 1996 in the southwest of Pafos. Recent neotectonic studies by the Geological Survey Department (GSD) show that Cyprus has several active faults along which earthquakes also occur, like the earthquake of 11th August 1999 which was caused by a movement on the Gerasa fault. It is therefore obvious that the Cyprus Arc takes up only part of the movements of the lithospheric plates and that the remainder is distributed in the rest of Cyprus as far as the Pentadaktylos range.

Earthquake Vulnerable Areas Cyprus lies in a seismic zone and the whole of the island can be considered as an earthquake vulnerable area. Damage from earthquakes that occurred in various times has been reported from almost everywhere. However, both the historical and the contemporary data reveal that the most earthquake prone area of Cyprus (Figure S7) is the coastal zone that extends from Pafos through Limassol and Larnaca to Famagusta. A large part of the Pentadaktylos range and the part of the Troodos range, where the ophiolitic rocks outcrop, constitute the least earthquake prone areas of Cyprus. A large number of medium to strong earthquakes have their epicentres in the sea, several tens of kilometres away from inhabited areas and the damage that may cause is small to negligible, as the intensity with which an area is struck depends on the epicentral distance. As many earthquakes have their epicentres in the west and south, it is obvious that the areas affected more by these are the western and southern coastal zones. Another important parameter affecting the response of an area towards an earthquake is that of the ground conditions. Areas covered with loose deposits, including most of the coastal areas are more vulnerable to destruction in contrast to areas where the rocks are massive, like the Troodos range which is mostly covered with igneous rocks.

From the map of epicentres (Figures S3,S4) of the earthquakes that occurred during the last 100 years and the corresponding (Figure S5), it becomes obvious that the main seismic activity is concentrated in the west and south of the island and along an approximately arcuate zone in the sea, also in the west and south. The largest proportion of seismic activity during the period 1894-1998 is observed to the south of the 35th parallel. There has been seismic quiescence in the southwest of the island during the last 100 years, in contrast with the gulf of Antalia further north where the seismic activity is stronger. A similar but less intense state of quiescence is observed to the northeast of Cyprus towards the gulf of Iskenderun.

Historical Records and Instrumental Recordings of Earthquakes Historical data indicate that 16 destructive earthquakes with intensities of at least VIII on the modified Mercalli scale occurred between 26 BC and 1900 AD. Pafos was levelled in 15 BC while in 76 AD the town was destroyed along with Salamis and Kition. The latter earthquake is considered to be the strongest that ever hit Cyprus. Salamis and Pafos were destroyed again in 332 AD and 342 AD. The historical data have many inaccuracies and gaps and for some time periods there is complete lack of information. Additionally, several events appear to have been exaggerated by the historians and chroniclers who described them. More accurate data have been collected, regarding the earthquakes occurring in Cyprus and the surrounding offshore area since 1896, when seismological stations started operating in neighbouring countries. The situation regarding the accuracy and completeness of the earthquake recordings improved considerably after 1984, with the establishment of a seismological station in Cyprus and its continual expansion and upgrading. A better picture of the seismicity of the Cyprus region started developing and the areas with higher seismic activity were more clearly recognised. In the time period 1896-2004, more than 400 earthquakes with their epicentres on Cyprus and the surrounding region were felt in several areas of Cyprus. Of these the following 14 earthquakes caused damage and in some of them there were many victims.

Nicosia Weather Analysis

Nicosia Sun Path Diagram

Average Temperatures in Nicosia

Sun Path Today June 21 December 21 Annual Variation Equinox(March and Sptember Sunrise/Sunset Sunrise Sunset Time 00-02 03-05 06-08 09-11 12-14 15-17 18-20 21-23

Avg Temperature Avg Max Temeperature Avg Min Temperatures Avg Rainy Days

Jan

Feb

Mar Apr

May June July Aug Sep

Oct

Nov Dec

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13 16 5 3

16 18 7 3

27 29 16 1

24 28 15 1

18 21 10 3

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Discovering Nicosiaâ&#x20AC;&#x2122;s Sound Maps by exploring the influence of existing typlogies with acosutics.

Tower 6 The Sound Diffuser

Tower 5 -The Resonating Chamber Tower 4: The Water Tuner

Tower 1: The Olive Tree Sound Tower

Tower 2: The Wind Tuner

Tower 3: The Heat Tuner

Traditional Ornamentation

Tradional shutters which allow sound to stay enclosed or exposed

Traditional typologies reused where sound is projected outwards. Wrought iron is used for ornamentation.

Tower 4: The tower is built around an existing olive tree in an abandoned courtyard. The non static plantqualities create a unique acoustic characteristic.

Classical amphitheatre which allows the sound to move upwards towards the audience

Sound collectors which collect the sound from the neighbouring towers

Linear engravings into the wall diffuse sound and clarify sound reducing reverberation.

Embeded sound collectors which collect sound from the funnel beneath

Sound reflector to dissipate sound outwards

Local Sandstone used to provide a solid base and slits allow for natural light to come in.

Practice Area/ Conference Space

Sound receiving space-music is listened to and funnelled upwards

Sound funnelled upwards in a highly reflective space-marble

Sound path

12 Music received and performed outwards

11 Structural Skeleton

10 Music performed outwards

Private practice space where sound is enclosed and diffused to create clearer sounds

Sound is diffused to avoid reverberation within the space

Cantilevered spaces for a musical theory library, antique instrument library and a recordings archive

Auditorium aimed towards informal perfomances for families and friends-these sounds remain enclosed. 2

Tower is built around an existing olive tree in an abandoned courtyard. The tree allows for soil stability and solar shading. Perfomances happen around it and the leaves/trunk allow for unique acoustic characteristics. 1

Program analysis through the different qualities of the tower design

SOUND COLLECTORS IN FLOOR

WIND INSTRUMENTS

Eaxh space adds upon each sound to make up a whole music piece.

Tower 1: Wind becomes a type of instrument which is added to the overal sounds of the music in the tower.

SAND BAG WALL

Musical Instrument curiosity cabinet

Incoming Sound

Outgoing Sound

Sound Focus

Practice Space-Sand Bags absorb sound so that they do not influence other sounds

MUSICAL CURIOSITY CABINET

WIND INSTRUMENTS

Sound diffused

10 Sound absorbing practice area

Mega sound funnel

Musical Instrument lift

Wind instrument-made out of reclaimed roof tiles

Wind instrument-made out of reclaimed roof tiles 3

Wind instrument-aeroharp and reclaimed barrels used as instruments

Sound collectors inserted into the floor and transfer sound from one perfomance space to another. 2

Parabolic sound mirror which receives and sends out sounds

RECLAIMED CHURCH BELLS

Eaxh space adds upon each sound to make up a whole music piece.

Tower 1: Sun/ heat becomes a type of instrument which is added to the overal sounds of the music in the tower.

RECLAIMED WALL MADE OUT OF SANDBAGS

These dishes can be played upon from the interiorthe size of the bowls influences the pitch of the sound.

Sound is collected here

External Balcony

Sound refocused into resonators of reclaimed old church bells

MUSICAL CURIOSITY CABINET

SOUND / LIGHT COLLECTORS

Incoming Sound

Outgoing Sound

Sound Focus

12 Practice Space-Sand Bags absorb sound so that they do not influence other sounds

11 Water tank which influences the pitch of the music

10 Musical Instrument curiosity cabinet

Sound diffused

Solar gain-south facing side is equiped with sound collectors and solar panels which collects sunlight which is trabsformed into energy which triggers the bells to ring within the tower.

The south facing metalic bowls are heated up or cooled-according to temperatures and influence the sound in the space. 3

Bird Nests attract birds into the top of the tower and their flutter adds to the overal sounds of the tower

Parabolic sound mirror which receives and sends out sounds

Eaxh space adds upon each sound to make up a whole music piece.

Tower 3: Water becomes a type of instrument which is added to the overal sounds of the music in the tower.

WATER COLLECTORS

SOUND COLLECTORS

Water tank influences the tone/pitch/reflection of the music 9

Sound Focus

Incoming Sound

Outgoing Sound

12 Person Lift

11 Musical Instrument Lift

10 Musical Instrument curiosity cabinet

Water tank influences the tone/pitch/reflection of the music

Sound outgoing 7

Sound Collectors

Large atrium space 5

Water is funnelled into the building

The upturned parabola allows for sound to be scattered

Water collectors which influence the pitch of the sound as it flows over it

Sound from the auditorium space is funneled through the resonating chambers into the music theory library which acts as background noise-sound connects one space with another.

These thin concrete shell structures act as resonating chambers where one can sing/talk into them and experience a deep sound reflection- acts as a playscape on the ground floor open air communal space. They also form a major part of the structural frame of the building where all the loads are directed down these into the concrerte pilings

Vaulted Parabolic roofscapes which act as resonating chambers for sound-diffusing sound and eliminating echo.

Sound Receivers/collectors which have been designed according to WW1 sound receivers which detected distant planes

Sound rays show how the space/curvatures/angles have been designed to direct sound to specific places into and out of the building.

Hollow spaces allow for sound to circulate in circular forms allowing for it to diffuse and amplify at varuous times.

Perspective Section of Tower 5 - The Resonating Chamber

Stepped Auditorium/amphitheatre for informal daily musical events where sounds are contained into the building. Resonating chambers acts as sound absorbers/diffusers wrapped in POROUS sound absorbant tiles.

Sound Rays Projected into the building

Sound Rays Projected out of the building

Sound Ray perfomance within the building.

Circulation- Fire escape circular stairs which connects ground floor to the top. A lift core also connects all floors and aids in transfering instruments from one floor to another.

Musical Wind Instruments embeded into the wall of the chamber which can be played upon and sound projected outwards.

Instruments

General Arrangement Plan- Type 1 Tower-Wind Instruments

Level 1- 1:100 Plans

Level 1:100 Arrangement Plans Sound Plan0General of The Wind Tuner Tower

Main Entrance

General Arrangement Plan- Type 1 Tower-Wind Instruments

Level 0- 1:100 Plans

Level 1- 1:100 Plans

Main Entrance

3 5

1 1

2 1-Ecotect Analysis- Funnel

4.4ms

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27ms

2-Ecotect Analysis-Sound Diffused Wall

45ms

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14ms

84ms

97ms

27ms

1 Perfomance Space 1- Max 2 people playing a wind instrument 2 Social Activity Space

1 Perfomance Space 1- Max 2 people playing a wind instrument

3 Wind Chambers tuned by the passage of the wind-these sounds depend on the force of nature/weather and intefer with the musical notes played in the tower 4 Sand bags- weight hold the tower down and form a more absorbant space 5 Instrument delivery- the y are then taken by a lift to the storage/practice/perfomance spaces

2 Wind Instruments 84ms

97ms

118m

1-Ecotect Analysis- Funnel

3 Wind Direction 4 Reflective Marble Wall 5 Practice Space

1 Perfomance Space 1- Max 2 people playing a wind instrument 2 Social Activity Space 3 Wind Chambers tuned by the passage of the wind-these sounds depend on the force of nature/weather and intefer with the musical notes played in the tower 4 Sand bags- weight hold the tower down and form a more absorbant space 5 Instrument delivery- the y are then taken by a lift to the storage/practice/perfomance spaces

4.4ms

14ms

84ms

97ms

27ms

1 Perfomance Space 1- Max 2 people playing a wind instrument 2 Wind Instruments 3 Wind Direction 4 Reflective Marble Wall 5 Practice Space

118m

45ms