Sample Portfolio for Year 4, The Bartlett School of Architecture, Unit 22. Brief: Children and Architecture
‘An Urban Orchestra’.
“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.’’ Daniel Barenboim, Conductor of West-Eastern Divan Orchestra. Qualities such as fostering dialogue and reconciliation through music were the key ingredients of inspiration extracted from the West-Eastern Divan Orchestra; the youth orchestra founded in 1998 by Barenboim and Edward Said, comprising of musicians from Israel and Arab countries. The proposal transforms the concept of an orchestra into an urban scale, where features of ‘musical play’ are implemented into the wounded landscape of the divided city of Nicosia. A buffer zone divides the island between the southern Greek and the northern illegally occupied Turkish side. This zone, also known as the ‘no –man’s land’ has been frozen in time, where abandoned buildings now lie as ruins, untouched by human activity. Due to restricted access from one side of the island to the other, sonic towers are designed and applied onto each side of the buffer zone, running along the Venetian walled city of Nicosia. These towers act as instruments within the city, where each structure represents one member of the orchestra family. Musical dialogues bring together wind, percussion, string, brass and vocal towers creating a harmonious composition across the city. Improvised and formal orchestral compositions act as tools of reconciliation for this territory in conflict. The existing sound landmarks of the church and the mosque are now accompanied by a new sonic layer, which brings elements of playful dialogues and unexpected encounters. The project targets as users the younger generation, the group of the population which is more accepting to social change and overcoming barriers. Children are invited to play upon the musical structures, learn about the history, theory and practice of music, and reproduce a musical dialogue between the two sides of the island. 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 structures. Sound research and physical testing have allowed me to discover the acoustic possibilities of convex and concave geometries and materials, where through trial and error new design possibilities were discovered. The weather becomes an extra tool of controlling the pitch and tone of the sound of each individual tower where heat, wind and water become influencing factors. One can enjoy listening from his private balcony, from a midnight stroll or a day at the market. An eventful atmosphere, similar to a carnival brings the opportunity to see the city in a new light; where one can enjoy unexpected sounds coming from both sides of the city. The project implies that non verbal communication has even greater potential than formal dialogue to dissolve barriers of social and political conflict. A special thanks to the Electrical Engineering department of UCL for allowing me to perform an acoustical test in their laboratory.
Mapping territories and accoustic qualities across Nicosia’s Buffer Zone.
Mosques and Churches Other Important Landmarks such as Schools, Libraries and and Markets
Long Section displaying the acoustic play across the divided city.
Acoustic testing using the program of ecotect. Shapes have been tested for perfomance and applied to the design of the following sonic towers. 1
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.
2
Auditorium aimed towards informal perfomances for families and friends-these sounds remain enclosed.
3
Local Sandstone used to provide a solid base and slits allow for natural light to come in.
4
Practice Area/ Conference Space
12 Sound reflector to dissipate sound outwards
1
2
6
Sound is diffused to avoid reverberation within the space
Water collectors which influence th sound as it flows over it
Bird Nests attract birds into the top of the tower and their flutter adds to the overal sounds of the tower
2
The upturned parabola allows for s scattered
3
The upturned parabola allows for s scattered
4
Water is funnelled into the building
5
Large atrium space
2
Traditional typologies reused where sound is projected outwards. Wrought iron is used for ornamentation.
Cantilevered spaces for a musical theory library, antique instrument library and a recordings archive
1
1
2
5
Parabolic sound mirror which receives and sends out sounds
1
3
The south facing metalic bowls are heated up or cooled-according to temperatures and influence the sound in the space.
4
These dishes can be played upon from the interiorthe size of the bowls influences the pitch of the sound.
5
Sound is collected here
WATER COLLECTORS
Embeded sound collectors which collect sound from the funnel beneath
3 11
7
Private practice space where sound is enclosed and diffused to create clearer sounds
6
External Balcony
6
Sound Collectors
7
Sound outgoing
5
8
7
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.
8
Sound diffused
9
Sound refocused into resonators of reclaimed old church bells
Sound receiving space-music is listened to and funnelled upwards
3 9 10
Sound funnelled upwards in a highly reflective space-marble
8
Water tank influences the tone/pitch the music
9
Water tank influences the tone/pitch the music
9 10 Music performed outwards
4 Linear engravings into the wall diffuse sound and clarify sound reducing reverberation.
11 Structural Skeleton
7
10 Musical Instrument curiosity cabinet
10 Musical Instrument curiosity cabinet
4 12 Music received and performed outwards 8
11 Musical Instrument Lift
11 Water tank which influences the pitch of the music
7
6 5
Sound path
12 Person Lift
12 Practice Space-Sand Bags absorb sound so that they do not influence other sounds
Outgoing Sound
Outgoing Sound
Incoming Sound
Incoming Sound
Sound Focus
8 7
Sound Focus
Sound collectors which collect the sound from the neighbouring towers
11
9
Tradional shutters which allow sound to stay enclosed or exposed
6
RECLAIMED CHURCH BELLS Traditional Ornamentation
8 SOUND / LIGHT COLLECTORS
5
10
10
11
4
1
3
12
C Classica Cla laa siccal a amphit hitheatre t wh Classical amphitheatre which allows the sound to move mo m ove upwardss towards the audience
MUSICAL CURIOSITY CABINET
9
12 2
RECLAIMED WALL MADE OUT OF SANDBAGS
SOUND COLLECTORS
1-100 -General Arrangement Section -Olive Tree Retainer
General Arrangement Section 1:100
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. 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 in the construction process.
1
Parabolic sound mirror which receives and sends and buying time out sounds
2
Sound collectors inserted into the floor and transfer sound from one perfomance space to another.
3
Wind instrument-made out of reclaimed roof tiles
4
Wind instrument-made out of reclaimed roof tiles
5
Wind instrument-aeroharp and reclaimed barrels used as instruments
6
Musical Instrument lift
Whistle devices embedded into the wall which can be played. Poetic Duelling with other towers
Sound Projection Balcony-viewpoint platform.
1
7
Mega sound funnel
8
Sound diffused
9
Musical Instrument curiosity cabinet
Hybrid/Fabric/Concrete structure to provide lighter shells on top of the tower.
Projection Chamber -can automatically be sealed ,when it is raining or there are no performative activities.
Practice Space-Sand Bags absorb sound so that they do not influence other sounds
SOUND COLLECTORS IN FLOOR
Formal ferfomances where music is projected outwards and the city becomes the audience.
Outgoing Sound
3
Perfomance Space-Sound from opposite tower heard and then communicated back.
Wood Lined-for sound diffusion-receiving room. Sound is collected from the parabolic sound instruments and then funnelled upwards.
10 Sound absorbing practice area
2
Perfomance Space-Sound from opposite tower heard and then communicated back.
Sound Receiving Device (from other towers)
Incoming Sound 6
Sound Focus
Informal rehearsals, pefomance, improvistaion in communication between towers. The audience is the local area, families and friends
4
Perfomance Space/ Atrium/Chamber -Sound Projecection,Amplifiaction towards the City and other Towers.
Wood lined, sound proof practice room
5
WIND INSTRUMENTS
Sound Reflectig Chamber-Sound is focused upwards.
7
WIND INSTRUMENTS
Music Theory Library/Practice Area
Music theory, Instrument and Records Library
9
Composite structure of steel and concrete
Sound Reflection Chambers Atrium/open plan practice area
MUSICAL CURIOSITY CABINET
Informal auditorium for daily musical activities/practice 20 people. Auditorium for 50 people
Sound Projection Chambers/Playscape
10
SAND BAG WALL
Elevated Space -General Outdoor Community Space/Recreation Area Concrete piling which connects to the concrete triangulations and loads are transferred to the ground
Layout plans for one of the sonic towers.
mal practice
1
1
1 1 4
2
7
6 5 2
3
3
1
Site Entrance Point
1
7-Informal Auditorium-amphitheatre/stepped seating
8
13 14
16
12
10
15
15 12
18
9
17
11
13
19
l list
ed piles to resist horizontal s
Horizontal Forces
Level 5
Harp Platform where the parabolic shape of the structure reflects sounds outwards to the city
Louvre system allows sound in and out Horizontal Forces
Reinforced concrete clad with local sandstone which helps in absorbing part of the sound minimising echo and reverberation.
Reinforced concrete structure-200mm Reinforced concrete ring beam connects with reinforced concrete thickness/mass allows for sound insulation structure
Horizontal Forces
Hardwood-floating fllor to allow drum effect when danced upon-sound escapes outwards
Vertical Forces-Compression
Level 4
Horizontal Forces
Timber battons Folding ladder allows access to the harp platform Timber beam
Screed Reinforced concrete floor slab which has a timber plank finish
Reflective marble finish-allows to strengthen and reflect the sound of dancing feet
Reinforced concrete shell cast in situ-steel reinforcement Horizontal Forces ties both horizontally and vertically
Bracing allows for forces to move in tension Horizontal Forces ce e Reinforced concrete inverted pyramid which has been cast in situ.
To resist corrosion and decay this area should be caulked
Connetion of timber beam with the outer concrete ring beam
Level 3
Anchor Bolt
Reinforced concrete shell structure cast in situ Viewing platform into dancing space Front view section drawing of the pile cap
Level 2
Horizontal Forces
Stirrups
Stirrups
Level 1
Reinforced concrete column which connects to the cooncrete shell structure and becomes one of the primary frame grid structure which supports the inner spaces Ground Pile Cap
Inclined Piling
Reinforced concrete shell structure cast in situ
Plaster based models were made in order to test their form against their acoustic perfomace. The aim was to test which shape created a louder sound pitch. I transferred my models to the UCL Electrical Engineering department to perform an acoustical test. Results displayed that parabolic shapes and flat surfaces reflected sound in a louder volume.