Dr 2015 lily papadopoulos part2 by Lily

Sound Plan General Arrangement of The Wind Tuner Tower

General Arrangement Plan- Type 1 Tower-Wind Instruments

Level 3- 1:100 Plans

Level 2- 1:100 Plans

General Arrangement Plan- Type 1 Tower-Wind Instruments

Level 2- 1:100 Plans

Level 3- 1:100 Plans

2 2

3 2

1 Aeroharp

1 Wind Instrument 2 Perfomance/Practice Space

2 Musical Curiosity Cabinet 3 Deployable fabric structure to allow for this space to be transformed from practice to perfomance.

1 Wind Instrument

1 Aeroharp 2 Perfomance/Practice Space

2 Musical Curiosity Cabinet 3 Deployable fabric structure to allow for this space to be transformed from practice to perfomance.

Sound Plan General Arrangement of The Wind Tuner Tower

General Arrangement Plan- Type 1 Tower-Wind Instruments Level 4- 1:100 Plans General Arrangement Plan- Type 1 Tower-Wind Instruments Level 5- 1:100 Plans General Arrangement Plan- Type 1 Tower-Wind Instruments

General Arrangement Plan- Type 1 Tower-Wind Instruments

Level 4- 1:100 Plans

Level 5- 1:100 Plans

1 4

3-Ecotect Analysis- Funnel

3 4.4ms

14ms

27ms

1 Perfomance Space -outdoors 2 Sound Collecting Floor

3 Perfomance Space-Indoors

1 Domed-Sound Foucusing Roof

4 Wind Instrument

2 Perfomance Space -Choral Chamber 3 Instrumental Sound funnelled here 45ms 4 Sound Projected-at its heighest point.

1 Perfomance Space -outdoors 1 Domed-Sound Foucusing Roof

2 Sound Collecting Floor 2 Perfomance Space -Choral Chamber

3 Perfomance Space-Indoors 4 Wind Instrument

3 Instrumental Sound funnelled here 4 Sound Projected-at its heighest point.

84ms

97ms

3-Ecotect Analysis- Funnel

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

Composite structure of steel and concrete

Informal rehearsals, pefomance, improvistaion in communication between towers. The audience is the local area, families and friends

Formal ferfomances where music is projected outwards and the city becomes the audience.

Moreover the skeleton structure provides a frame on the building site which can be quickly put together holding all other compnenets togerher . Workers on site can work on different things at the same time increasing efficiency and buying time in the construction process.

A composite structure of steel and concrete is used as it can provide a space frame where spaces can be added to it with spacing between each other to avoid sounds becoming mixed.

Concrete Frame adds to the stiffness of the structure-GRAVITY

Dampers added to cretae flexibility to wind loads and in case of earthquakes

1-100 -General Arrangement Section -Olive Tree Retainer

Concrete piling which connects to the concrete triangulations and loads are transferred to the ground

Auditorium for 50 people

Atrium/open plan practice area

Music theory, Instrument and Records Library

Wood lined, sound proof practice room

Wood Lined-for sound diffusion-receiving room. Sound is collected from the parabolic sound instruments and then funnelled upwards.

Perfomance Space-Sound from opposite tower heard and then communicated back.

Hybrid/Fabric/Concrete structure to provide lighter shells on top of the tower.

Perfomance Space-Sound from opposite tower heard and then communicated back.

Elevated Space -General Outdoor Community Space/Recreation Area

Sound Projection Chambers/Playscape

Informal auditorium for daily musical activities/practice 20 people.

Sound Reflection Chambers

Music Theory Library/Practice Area

Sound Reflectig Chamber-Sound is focused upwards.

Perfomance Space/ Atrium/Chamber -Sound Projecection,Amplifiaction towards the City and other Towers.

Sound Receiving Device (from other towers)

Projection Chamber -can automatically be sealed ,when it is raining or there are no performative activities.

Sound Projection Balcony-viewpoint platform.

Whistle devices embedded into the wall which can be played. Poetic Duelling with other towers

1:100

General Arrangement Section

1-100 -General Arrangement Section -The Resonating Chamber

Ground plan with surrounding site-(not to scale)

General Arrangement Ground Plan on Site (not to scale)

1 1 4 6 5 2 3 1 1

1 4 6 5 2

Site Entrance Point 3

Site Entrance Point

1- Temporal Seasonal Music Festivals

2- Public Square/Space for social meetings/informal practice 3- Playground/ Sound reflectors/Whisperers

4-Male Toilets-(Services become part of the existing landscape as to not take up any perfomance space of the tower.) 5-Female Toilets

1- Temporal Seasonal Music Festivals

2- Public Square/Space for social meetings/informal practice 6-Disabled Toilets 3- Playground/ Sound reflectors/Whisperers 6-Dotted Line-ceiling above 4-Male Toilets-(Services become part of the existing landscape as to not take up any perfomance space of the tower.) 5-Female Toilets

6-Dotted Line-ceiling above

5-Female Toilets-SEE SITE PLAN

4-Male Toilets-(Services become part of the existing landscape as to not take up any perfomance space of the tower.) SEE SITE PLAN

3- Playground/ Sound reflectors/Whisperers

2- Public Square/Space for social meetings/informal practice

1- Temporal Seasonal Music Festivals

Site Entrance Point

Ground plan

1:100 General Arrangement Plans-Tower 5 Resonating Chamber

8-Dotted Line-Ceiling above

8-Perfomance Spaces/concave forms allow for sound to be spread equally around the space.

7-Informal Auditorium-amphitheatre/stepped seating

First Floor

10-Dotted Line-Ceiling above

10-Music Theory Library/Classroom

9-Sound Chambers/Funnels allow sound from below to enter the space aboveThese can also be sealed

Second Floor

13-Lift Well

12-Perfomance space directed to project music out to the city and other towers

11-Sound Reflector-directs sound upwards

Third Floor

15-Sound Colectors/Receivers from the Eastern and Western Towers

14-Lift to Fourth Floor

13-Perfomance space directed to project music out to the city and other towers

12-Funneling Perfomance Space

Third Floor Atrium Space

15 12

19-Tower's balcony-viewpoint where music can be played outwards

18-Wind instruments which can be played-embedded into the building

17-Perfomance space directed to project music out to the city and other towers

16-Lift which leads into the top floor

Fourth Level

Winter Sun

Summer sun

Maximum glazing to allow for sunlight to enter the building in the winter to keep the space warm

Summer Shading

Solar Chimney Effect- The funnels which are mainly used to project sound outwards to the city act as solar chimneys which help i the natural ventilation of the tower. Hot air rises and is forced to leave through the chimneys drawing up cold air with it, cooling down the spaces.

Natural Ventilation /Passive Cooling

Natural Ventilation through Solar Chimney

Summer Shading

The vegetation which is allowed to grow beneath the building allows for air to be cooled down

Summer Cooling Breeze

Thermal Mass Flooring

Louvres open and close to control air passages

-The inlet and outlet air apertures: The sizes, location as well as aerodynamic aspects of these elements are also significant.

-The main ventilation shaft: The location, height, cross section and the thermal properties of this structure are also very important.

-The solar collector area: This can be located in the top part of the chimney or can include the entire shaft. The orientation, type of glazing, insulation and thermal properties of this element are crucial for harnessing, retaining and utilizing solar gains

The basic design elements of a solar chimney are:

A solar chimney â&#x20AC;&#x201D; often referred to as a thermal chimney â&#x20AC;&#x201D; is a way of improving the natural ventilation of buildings by using convection of air heated by passive solar energy. A simple description of a solar chimney is that of a vertical shaft utilizing solar energy to enhance the natural stack ventilation through a building.

Overal Environmental Strategy

Winter

Westerly Prevailing winds

Summer

Passive cooling and heating

Natural Ventilation Diagrams

Photovolatic Cells are also located on the south side

In the winter maximum glazing should be provided in the south side of the building so that the space could be warmed up.

An air gap is left between the external structure and internal to allow for wind loads to pass through freely.

The side and roof openings which aallow sound and daylight into the building also help in creating a draft through the space coling it down naturally.

Greem Microclimates which are allowed to exist iwithin this outdoor space also help to cool it down

As the ground ommunal space is elevated above the ground , air is allowed to pass through the structure cooling down the space.

Level 1

Level 3

Level 4

Ground

Level 2

Level 3 Atrium

Circulation Fire Escape plans

In Situ Concrete-Shell Structures

General Materials Library

Analysis of Tower Compartments

Concrete Shell Structure-Formwork -Concrete poured on Site-Formwork could be fibre galss/plywood or a fabric mesh when concrete is sprayed upon a tensile fabric

Secondary Structure- Parabolic /Vaulted spaces are cast in situ and tied into the primary frame structure on site

Porto create poous Sanstone used-which is locally produced from a nearby quarry.-bricks are spaced out to create openings forlight to enter the space

Primary Concrete and Steel Structure which i built on site first-Earthquake proof structure

Fabric formed concrete which forms a smooth thin curved surface -producing an organic feel to the building.

Circulation -Lift and Spiral staircases- an external wall will form around the staircases

Reinforced Steel is allowed to be projected so that the next piece can be tied upon

Reinforced concrete columns which are set as one piece and allow for forces to move along them-the internal floor slabs attach to this.

Secondary structure which leads the loads to the primary structure.

Steel Triangulations/Bracing

Structural Diagram of External Frame Structure

Concrete Piling Foundations

The external structure follows the internal geometry

Ground

Cast Reinforced Concrete Structures-allow for the tower to be elevated and the parabolic shape allows for a strong baseto carry the weight of the tower

Wind Load

Secondary Load Path-Compression

Tertiary Load Path-Tension

Primary Load path-Compression

Wind Loads allowed to pass through the structure-air gap provided between the concrete shell structure and the external frame.

Dampers and Steel Bracing to allow for flexibility and vibration control from wind and earthquake loads

Example of concrete shell structure added to the framework

Rings beams which tie the structure together.

Images from-http://riyadjoucka.com/hybios-p/

Tensile Concrete Fabric Construction

To achieve curved surfaces out of ess material and concrete:

Solar Panels are embedded into the sound collectors and are used to capture sunlight formng it into electric energy which manages the automation of the roof louvre system.

Open-These louvres cover the funnel projection openings of the tower. They control the amount of sound which escapes the building and fully close in case of rain and cold weather-They are fully sealed and waterproof

Closed-

Retractable Roof System-Louvres/Fins and concrete fabric formwork panels

The tensioning of fabric is done using hydraulic jacks and anchoring at edges. Jesmonite is sprayed using robitic arms to maintain the uniformity in thickness. Similar technique in used to sprayed structural concrete over the dry fabric and Jesmonite layer.

FABRICATION

3. A Doubly woven steel mesh is laid over this form and Barchip fibre reinforced concrete is sprayed over it to make the form structural. The thickness varies from 100mm to 150mm for a span varying from 15 to 25 meters.

2. Jesmonite (a cementitious composite) is sprayed over the fabric to keep the geometry in equilibrium state, layered with fiberglass.

1. Industrial fabric is used for form finding to crate an enclosure that is also the form work base layer.

CONSTRUCTION LOGIC

)veral Construction Sequence Drawings

Overal Construction Sequence Diagrams

The geometric shapes of the base of the tower are cast in situ on site with reinforced concrete

The external framework is a hybrid of steel and concrete-It forms the primary structure of the tower and is built first on site to allow for a flexibility in how the internal work is carried out. Time and money is saved by having a n overal framework where upon builders can work on various parts of the tower at the same time.

2 Scaffolding keeps the formwork up until it is cast.

Shuttering-which is the formwork made out of fibreglass/plywood or a tensile fabric mesh is laid out on top of the scaffolding. Reinforcement steel bars are laid out on top of this and then concrete is poured on top. Steel beams to allow for vibration control from earthquakes and wind loads

The concrete is allowed to set

Concrete Ring Beams-carry loads to concrete columns Concrete Frame-Primary Load Bearing In Situ Concrete Shell structures

Concrete Foundation Pilings

Scaffolding is built around the tower to allow for it to be worked upon

Cranes allow for the internal spaces to be lifted and dropped

Concrete Frame-Primary Load Bearing

)veral Construction Sequence Drawings

In Situ Concrete Shell structures

Concrete Foundation Pilings

Scaffolding is built around the tower to allow for it to be worked upon

Cranes allow for the internal spaces to be lifted and dropped

Step number 1 is repeated here but instead of the internal floors/vaults and walls being in cast outside the framework everything is done within.

The aim is that once

)veral Construction Sequence Drawings

Step number 1 is repeated here but instead of the internal floors/vaults and walls being in cast outside the framework everything is done within.

Once one vaulted space is done the scaffolding then moves above that creating the spaces theafter upwards.

Scaffolding is installed within the tower frame and the various parts of the internal structures are cast in situ -the floor slab of each level is cast first

The aim is that once the farmework is up the workers on site can work on various construction work at the same time saving money and time.

Compresssors are located outside and power the split units.

Overal M and E Diagram

Photovoltaic cells are embedded into the parabolic sound collectors which trap sunlight transforming it into electrical energy for the split units, roof louvres and lighting.

Split Units are added in the music theory library and upper perfomance space which provide mechanically produced cold air in the summer and warm air in the winter.

Water droplets passing over the dielectric layer induce an electric charge

The toiletâ&#x20AC;&#x2122;s flushing allows to generate some of the power of the building-the split units/airconditioning and lighting

Analysis of geometric shapes in relationship to sound.

Whispering Galleries

Parabolic Shapes/Sound Mirrors

Listener

Talker

A whispering gallery is most simply constructed in the form of a circular wall, and allows whispered communication from any part of the internal side of the circumference to any other part. The sound is carried by waves, known as whispering-gallery waves, that travel around the circumference clinging to the walls.The gallery may also be in the form of an ellipse or ellipsoid,[4] with an accessible point at each focus. In this case, when a visitor stands at one focus and whispers, the line of sound emanating from this focus reflects directly to the focus at the other end of the gallery, where the whispers may be heard. In a similar way, two large concave parabolic dishes, serving as acoustic mirrors, may be erected facing each other in a room or outdoors to serve as a whispering gallery, a common feature of science museums

Example of whispering effect and dome sound reflections at the Golghar Granary.

The Sound Mirrors, also known as Acoustic Mirrors, Concrete Dishes or Listening Ears, are large concrete structures designed as an early warning system for Britain to detect enemy aircraft.Built between 1928-30, the sound mirrors were part of Britain's national defence strategy. They were designed to pick up the sound of approaching enemy aircraft. Sound waves were caught in the belly of the mirror and relayed back through microphones and a stethoscope to an operator who raised the alarm. Anti-aircraft defences were then deployed. The mirrors effectively gave Britain a fifteen-minute warning of an impending attack.

Whispering Galleries in a dome

All rays from the focus of a parabola to its surface will be directed outward as parallel rays. It is useful for projecting sound. Two parabolas as shown below can direct sound from the focus point of one to the focus point of the other with great efficiency. A microphone element can be placed at the focus point of a parabola and then aimed at a distant sound source - parabolic microphones can pick up selected sounds at surprising distances.

Analysis of geometric shapes in relationship to sound.

Parabolic Curves

Parabolic shapes/epiptical and hyperbolic

A sonic boom shock wave has the shape of a cone, and it intersects the ground in part of a hyperbola. It hits every point on this curve at the same time, so that people in different places along the curve on the ground hear it at the same time. Because the airplane is moving forward, the hyperbolic curve moves forward and eventually the boom can be heard by everyone in its path.

Hyperboloid

Ioannis Xenakis/Le Corbusier -Philips Pavilion For the final design of the Pavilion, Xanakis, with a team of engineers and artist, developed a three-pronged tent, constructed with thin-shelled concrete panels of hyperbolic paraboloid shapes. The execution of the design involved a tensile structure of steel cables strung from steel posts at the end of the tent to form the hyperbolic parabaloids. The complex shapes of the pavilion made it impossible to build a conventional poured concrete structure, the solution reached by Xenakis and his engineer Hoyte Duyster, was to create a system of precast concrete panels hung in tension from wire cables.

The Elipse

An ellipse has two focus points. Sound projected in any direction from one focus point will travel to the other."When the prelates of the medieval Cathedral of Agrigento in Sicily chose to hear confessions near the great central door, they undoubtedly did so to ensure the privacy of their parishioners' revelations. Then, quite by accident, someone discovered that behind the high altar 250 feet away the murmuring from the confessional could be clearly heard. 'Secrets never intended for the public ear thus became known,' according to one account, 'to the dismay of the confessor and the scandal of the people.'

Since even dispersion of sound is highly desirable in an auditorium, it may be necessary to take steps to overcome any focusing surfaces. If an architect decides that some curved surface is desirable for some reason, then the undesirable focusing effect may be partially overcome by covering the curved surface with anti-focusing surfaces.

Anti-Focusing Surfaces

Analysis of materials in relationship to sound.

Analysis of geometric shapes in relationship to sound.

Resonance

A bell (old Saxon: bellan, to bawl or bellow) is a simple sound-making device. The bell is a percussion instrument and an idiophone. Its form is usually a hollow, cup-shaped acoustic resonator, which vibrates upon being struck.

Resonance in a bell shape

Bells are made to exact formulas, so that given the diameter it is possible to calculate every dimension, and its musical note, or tone. The frequency of a bell's note varies with the square of its thickness, and inversely with its diameter. Much experimentation has been devoted to determining the exact shape that will give the best tone. The thickness of a church bell at its thickest part, called the "sound bow", is usually one thirteenth its diameter. If the bell is mounted as cast, it is called a "maiden bell". "Tuned bells" are worked after casting to produce a precise note. The elements of the sound of a bell are split up into hum (see subharmonic), second partial, tierce, quint and nominal/naming note. The bell's strongest overtones are tuned to be at octave intervals below the nominal note, but other notes also need to be brought into their proper relationship.[15] Bells are usually tuned via tuning forks and electronic stroboscopic tuning devices commonly called a Strobe tuner.

"A geodesic dome with 20m diameter and about 10m high as an environmental landscape sculpture in Pischelsdorf should transmute into 3D a soundsphere. Therefore as special hardware and software a low power solar power driven multichannel Ambisonics speaker system will be developed and installed. This project is commissioned by Kunstinitiave K.U.L.M. in Pischelsdorf/Styria: "eine geod채tische Kuppel als Klang-Dom"

Concrete is a mixture of different materials, and doesn't have a resonance frequency. As the sound passes through the concrete, it bounces off the many tiny interfaces between the different grains, losing any resonance or cohesion (and a lot of its power). Only very uniform materials in fairly uniform shapes exhibit strong resonances.

The problem definition to solve was mainly to handle with the special acoustics in the dome, which has strong reflections and echoes, especially in the middle since the concave form. The hypothesis was to handle this was trying to use many small speakers, which are seated on the inner surface. Since each of them are low power, they should not produce to much reflections on the other side but all together enough for filling the dome. Reflections and echoes in a dome Listener

Resonance in concrete

Talker Whispering Galleries in a dome

Analysis of materials in relationship to sound.

When you blow across the top of each bottle, it makes the air inside the bottle vibrate. Small air spaces vibrate more rapidly than large air spaces. When there is little air in the bottle, you produce a high note. When there is more air, the note is lower. High

Reflection

Absorption

Diffusion

Most of the sound is reflected which is almost as loud as incoming sound.

Absorbing power is determined by the material used.

Scatters sound depending on the desired effect.

Low

Water

You should discover that the longer pipes give lower notes and shorter pipes make higher-pitched notes.

Low

Does material change the tone of the sound? So why do scientists insist that material is effectively irrelevant? The mistake here, according to scientists, is thinking that the vibrating instrument is what is producing the sound. Basic acoustics tells us that the woodwind instrument is merely a container for the real sound-producing bodyâ&#x20AC;&#x201D;a vibrating column of air

High

Anechoic Chambers Anechoic chambers are completely covered in highly absorbent materials in order to block all incoming and outgoing acoustic and electromagnetic radiation. Semi-anechoic chambers have walls that are covered with pyramids made of rubberized foam and a floor that is dampened and laid on top of layers of foam or other absorbent materials in order to allow heavy objects to have a strong base to sit on without transferring noise outside of the chamber. Full-anechoic chambers block noise radiation in all directions and its walls are built like semi-anechoic chambersâ&#x20AC;&#x2122; walls, but its floors are made of mesh on top of absorbent tiles. Both semi and full-anechoic chambers are encased in a screened room to prevent electromagnetic waves from escaping or entering. Anechoic chambers block audible noises by forcing the acoustic waves to bounce upon impacting the pyramidal foam, causing the waves to lose energy with each bounce. They also block electromagnetic waves, which include radio waves, with the assistance of an exterior screened room or ferrite walls.

Pipes (closed at one end)

Speed of Sound in Various Materials Solid aluminum berillium brass brick copper cork glass gold granite iron lead marble rubber(vulc) silver steel titanium wood,ash wood,elm

v (m/s)

Liquids

v (m/s)

6420 12,890 4700 3650 4760 500 5100 3980 5950 5950 2160 3810 54 3650 5960 6070 4670 4120

alcohol,ethyl alcohol,methyl mercury water,distilled water,sea

1207 1103 1450 1497 1531

Gases air argon carbondioxide helium hydrogen nitrogen oxygen water vapour

v (m/s) 331 343 259 965 1284 334 316 494

How is sound created in the string instrument

The Megaphone

All string instruments make sounds with tensioned strings. Longer strings produce a lower tone than shorter ones. Tighter strings produce a higher sound than looser ones. Thicker strings produce a lower sound than thinner strings. That is why, even though all the strings on a guitar are the same length, they all sound a different note. String instruments can be plucked, bowed, or in the case of the piano, struck. Bowing allows very long, sustained notes with interesting dynamics. Electric guitars use magnetic pickups to convert vibration to an electric signal. String instruments must be tuned perfectly by tightening or loosening their strings. How String Changes the Pitch of an Instrument Loose vs Tight

Higher Sound Lower Sound Thick vs Thin

Long vs Short

Lower Tone

A cone-shaped acoustic horn used to amplify a personâ&#x20AC;&#x2122;s voice or other sounds and direct it in a given direction. The sound is introduced into the narrow end of the megaphone, by holding it up to the face and speaking into it, and the sound waves radiate out the wide end. The megaphone increases the volume of sound by increasing the acoustic impedance seen by the vocal cords, matching the impedance of the vocal cords to the air, so that more sound power is radiated. It also serves to direct the sound waves in the direction the horn is pointing. It somewhat distorts the sound of the voice because the frequency response of the megaphone is greater at higher sound frequencies.

Higher Tone

Multicell Horn- A number of symmetrical, narrow dispersion, usually exponential horns can be combined in an array driven by a single driver to produce multicell horns. Patented in 1936 by Edward C. Wente of Western Electric,[8] multicell horns have been used in loudspeakers since 1933 to address the problem of directivity at higher frequencies, and they provide excellent low frequency loading. Their directional control begins to beam both vertically and horizontally in the middle of their target frequency range, narrowing further at high frequencies[2] with level changes as great as 10 dB between lobes.

How Musical Instruments Work

- Vibrations - Types of Instruments - How to build louder instruments - How to get different pitches

Vibrations On all musical instruments something has to VIBRATE (shake back and forth). The thing vibrating might be a string, drum head, xylophone bar, a tube filled with air, whatever. Vibrations are contagious, so the air around the vibrating thing also vibrates, spreading outward in the form of sound waves.

- what is vibrating (string, drum head, etc.) - how it is played (bowed, struck, blown, etc.) - structure - how the instrument is built, which affects: getting it louder (putting it on a box, adding a cone, etc.) getting different pitches (longer/shorter, tighter/looser, etc.)

Getting it louder: One way to play louder on your instrument is just to blow harder, hit harder, etc. But there are some tricks of instrument construction to ensure that you will be heard. -Strings - put it on a box (also called a “resonator”)

1.0 Building Form Systems, Planning and Context -Air- With horns -Thinly stretched items

1.1 Site Analysis 1.2 Acoustic Site Analysis 1.3 Program Analysis 1.4 General Accomodation Arrangement

Getting different pitches

1.5 Overall Environmental Strategy

-Strings - two different possibilities: tighter-looser (like using the tuning pegs on a guitar) or longer-shorter (like putting your fingers down on the strings). -Air - two different possibilities - longer-shorter (like tone holes on the instrument), and “overblowing” (on certain blown shapes you can get a series of higher pitches by blowing/buzzing harder or faster) -Thinly stretched stuff - mostly tighter-looser (stretch it tighter and the pitch gets higher) but also could be affected by the shape and length of the supporting structure. -Solid stuff - shakers, scrapers, pipers, and pieces of wood - in all these cases size matters. The bigger the thing the lower the pitch.

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

Sound Collectors Refrences

Sound Amplifiers/Collectors References

Acoustic location

Acoustic location is the science of using sound to determine the distance and direction of something. Location can be done actively or passively, and can take place in gases (such as the atmosphere), liquids (such as water), and in solids (such as in the earth). Active acoustic location involves the creation of sound in order to produce an echo, which is then analyzed to determine the location of the object in question. Passive acoustic location involves the detection of sound or vibration created by the object being detected, which is then analyzed to determine the location of the object in question. Both of these techniques, when used in water, are known as sonar; passive sonar and active sonar are both widely used. Acoustic mirrors and dishes, when using microphones, are a means of passive acoustic localization, but when using speakers are a means of active localization. Typically, more than one device is used, and the location is then triangulated between the several devices. As a military air defense tool, passive acoustic location was used from mid-World War I[1] to the early years of World War II to detect enemy aircraft by picking up the noise of their engines. It was rendered obsolete before and during World War II by the introduction of radar, which was far more effective (but interceptable). Acoustic techniques had the advantage that they could â&#x20AC;&#x2DC;seeâ&#x20AC;&#x2122; around corners and over hills, due to sound refraction. The civilian uses include locating wildlife and locating the shooting position of a firearm.

Each one of these instruments has been incorporated into the design of the towers in order to transform the architecture into acoustic loactors.

Acoustic Locators -Reference Images-to be updated

Sound Amplifiers/Collectors References

Sound Amplifiers/Collectors References-Kircher

Sound Amplifiers/Collectors References

Theatre of Echoes