THE
THREE DIMENSIONS OF
SOUND
LAURA MAUND Carnegie Mellon University School of Architecture Thesis, Spring 2012
THE
THREE DIMENSIONS OF
SOUND
LAURA MAUND Carnegie Mellon University School of Architecture Thesis, Spring 2012
TABLE OF CONTENTS ABSTRACT PROPOSAL CONCEPT
5 7 8
RESEARCH
10
PRECEDENT
20
SITE ANALYSIS
22
PROCESS
36
RESOLUTION
50
TOPICS RESEARCHED FURTHER STUDY WORKS REFERENCED
58 59 60
ANALOG TECHNOLOGIES MUSICAL INSTRUMENT PRINCIPLES IANNIS XENAKIS THE ALEXANDER TECHNIQUE EXPERIMENTS
GALLAUDET UNIVERSITY
CLIMATE RIT CAMPUS NTID CAMPUS
SKETCHES & STUDY MODELS DRAWINGS SECTIONAL MODEL #1
DIAGRAMS DRAWINGS SECTIONAL MODEL #2
PRINT INTERNET
10 12 14 15 16
20
22 24 30
36 46 48
50 52 55
60 63
ABSTRACT Deaf theater was traditionally performed by only deaf actors for an entirely deaf audience.
The current trend in Deaf theater however, is
for both deaf and hearing actors to produce a show together that is intended for a combined deaf and hearing audience.
While dialogue
can be understood by all audience members because it is performed in Sign Language and spoken word, music and sound are typically only appreciated by hearing people.
Sound is not purely auditory however, as
it can also be experienced through the sense of touch and even vision. In order to enrich the Deaf theater experience for both deaf and hearing people, as well as to further unite these groups of people through the arts, the architecture of this theater is designed to exploit the tactile and visual qualities of sound.
page 5
PROPOSAL Rochester Institute of Technology is home to the National Technical Institute for the Deaf. Although these two campuses cater to students with different learning needs, they operate as one, with both deaf and hearing students taking classes together in both facilities. As part of its Deaf studies, NTID has a well-established Deaf Theater program, which focuses on uniting the Deaf and hearing communities. The current facilities for this program however, can hardly be distinguished from ones intended solely for hearing people. While it could be assumed that deaf people are not able to appreciate sound because they cannot hear the auditory waves, sound can also be experienced through tactile and visual means. In order to further unite the Deaf and hearing communities and improve their understandings of each other, this project aims to create a theater environment that reveals the tactile and visual dimensions of sound. Spatially, the RIT and NTID campuses are disconnected with vague circulation paths in between. In response, this project also focuses on drawing formal connections between the two campuses. With improved student circulation, there will be more opportunities for intellectual and artistic collaboration between the Deaf and hearing communities. The program for this project centers around a proscenium theater, designed specifically for Deaf Theater productions. While the acoustics in this space are certainly important, as they must be tailored for both hearing and Hard of Hearing occupants, they are also considered in a much broader scope. For one, the definition of acoustics is expanded to include the tactile and visual dimensions of sound that will be experienced by the Deaf and hearing alike. Furthermore, the theater itself is considered to be a large-scale instrument, inhabited by the performers on one end and the audience members on the other. With the stage and house operating as one system, the performers and audience members can relate and connect to each other on a more personal level. Crucial to the concept for this project is the idea of a direct translation between sound, touch, and image. While digital methods could be employed to create tactile and visual effects based on sound, the architecture of this project leaves all three dimensions of sound naturally connected through analog means; this ensures that the tactile and visual qualities of sound are authentic.
page 7
CONCEPT
Part A of a Cyclical AuditoryAuditory Translation Simultaneous and Cyclical Translation
sound
dict
s
image brain translates
ent
atio n
ns
m ove ng m
g
dict
ent
atio n
m ove ng m
s
chi wat
cti
le
ns
aid
g
n eli
fe
image
ta
cti
le
tio ra
s
vib
machine translates
aid
s
vib
fe
touch
sound
chi wat
image
ta
tio ra
n eli
sound
touch
touch
Part B of a Cyclical Auditory Translation
sound
dict
atio n
ent
sound
ent
sound
m ove ng m
s
chi wat
image
ta
cti
le
ns
aid
s
io at br
i
gv
lin
fee
touch
Simultaneous and Cyclical Auditory Translation
sound
dict
atio n
s ch wat
image brain translates
touch page 8
ns
tio ra
ib gv
ent
m ove
m ing
ta
sound
atio n
s
image
cti
le
m ove
m ing
ch wat
ns
aid
tio ra
s
lin
fee
dict
lin
ib gv
fee
touch
ta
image
cti
le
aid
s
machine translates
touch
project objectives as theater exists...
as project theaterobjectives will exist...
amplify
speech hear
amplify speech, music speech hear
visualize
see signing, dance dance, music
seevisualizesigning, dance, dance,music music
transmit
feel speech, dance, x music
feeltransmit speech, dance, speech,music dance, music
speech, music
project objectives project objectives
theater exist... as as theater willwill exist...
amplify amplify
speech speech
hear hear
speech, music speech, music
visualize visualize
dance, music dance, music
seesee
signing, dance, music signing, dance, music
transmit transmit
speech, dance, music speech, dance, music
feelfeel
speech, dance, music speech, dance, music
amplify amplify
speech speech
hear hear
speech, speech, music music
visualize visualize
dance, dance, music music
seesee
signing, signing, dance, dance, music music
transmit transmit
speech, speech, dance, dance, music music
feelfeel
speech, speech, dance, dance, music music
project project objectives objectives
as as theater theater willwill exist... exist...
project project objectives objectives
as as theater theater willwill exist... exist...
amplify amplify
speech speech
hear hear
speech, speech, music music
visualize visualize
dance, dance, music music
seesee
signing, signing, dance, dance, music music
transmit transmit
speech, speech, dance, dance, music music
feelfeel
speech, speech, dance, dance, music music
page 9
RESEARCH
Speaking Tube Speaking tubes are relatively simple devices for transmitting speech, comprised of two cones connected by a tube. On one end someone holds the cone up to their mouth and speaks into the tube, while on the other end someone holds the cone up to their ear to listen. The length of the tube can vary depending on the intended function, ranging from several feet up to several hundred feet. Longer speaking tubes were typically used for communication on ships or within 19th Century homes, while shorter ones were used in early airplanes and automobiles. Unlike the tin can telephone, the speaking tube can bend around corners without losing its functionality.
Tin Can Telephone Tin can telephones operate similarly to speaking tubes, except sound waves are transmitted through a string pulled taught rather than through the air within a tube. As a person speaks into one of the cans, the bottom of the can is set into vibration. This consequently sets the string into vibration, and then the bottom of the can on the other end of the string.
MOVEMENT SOUND
MOVEMENT SOUND
page 10
The tin can telephone is much like a stringed instrument, only in reverse. Stringed instruments produce sound when the string is set into vibration by a direct force. The tin can telephone starts with a sound, which then sets a string into vibration. The cans on either end of the string function as sound radiators, much like the sound boxes on stringed instruments.
ANALOG TECHNOLOGIES
LIGHT
SOUND MOVEMENT
Photophone The photophone was invented by Alexander Graham Bell in 1880. On one end, someone would speak into a cone directed at a flexible mirror. The vibrations of their speech would set the mirror into vibration, which would consequently set light waves from the sun into an equivalent vibration. The receiving device was slightly more complicated, but essentially the vibrating light waves would be translated back into sound using a conical receiver and selenium cells. While this invention proved inconvenient to use, it could effectively transmit sound over several hundred feet, using only light waves.
Phonautograph The phonautograph was invented by Édouard-LÊon Scott de Martinville in 1857. This device utilizes a flexible membrane, resembling an eardrum, attached to the base of a cone. When sound is directed into the cone, the membrane vibrates, causing a bristle attached to the membrane to also vibrate. This bristle then etches the sound waves onto a rotating panel. This invention was intended purely for the visual recording and study of sound waves. page 11
MUSICAL INSTRUMENT PRINCIPLES Adapted from Bart Hopkin’s book, Musical Instrument Design, the following list covers basic sound principles as they exist in musical instruments. These principles were utilized in designing this project.
Sound Basics -Resonance refers to the enhanced vibratory response of a body to a driving force at or near any of its natural frequencies. Like pushing someone on a swing, the driving frequency should match the body’s natural frequency. (A resonator can be “well-tuned.”) -Waves are described relative to the direction of travel of the traveling wave in the vibrating medium (transverse vs. longitudinal). -Longitudinal vibrations (pressure waves) are most important in air columns. They can occur in strings, rods, and other long, thin media as well, however they travel extremely rapidly in solid materials. In extremely long strings (20-100 ft.) these frequencies happen to fall in the heart of the musical range and are ideal for pulling and pushing a board mounted perpendicular to the strings. Transmission -High impedances are generally associated with larger masses and greater rigidity. impedances are associated with smaller masses and greater flexibility.
Low
-An initial vibrating body of high impedance easily drives a low-impedance body, while a low-impedance initial vibrator will have difficulty driving a high-impedance body. -For efficient mechanical transmission of sound vibrations over long distances, the transmitting medium should have little internal damping or there will be dissipation along the way. (Hard metals or wires pulled taut are best.) The vibrational energy should be in the form of high-impedance, longitudinal vibrations. Stringed Instruments -Vital components of string instruments include the string, a rigid structure to hold the string, a sound-radiating body, a string tensioning mechanism, bridges (to support the string at the end points of its vibrating length and to transmit the string vibration to the body for radiation), and means to excite the string into motion. -Radiating surfaces include soundboards, which vibrate and thus drive the surrounding air. Being intermediate in impedance, their job is to accept vibrational energy from an initial vibrating source like a string and spread the vibration over a larger surface area. -It can help a wooden soundboard to deliberately weaken it around its periphery, thus allowing it to flex more readily as if it were hinged. -To increase a sheet’s rigidity without too much increase in mass, reinforcing struts can be spaced along the surface. These struts also carry vibrations from where they originate through the entire soundboard, so they should stop some distance short of the edges so as to keep the soundboard flexible. -When designing soundboards, try to asses where, and in which direction, the initial vibrator will drive the soundboard. page 12
Aerophones -Air chambers used in musical instruments can be divided into two categories: tubes and vessels. -Vessels enclose a more three-dimensional body of air, with no one dimension excessively dominating the others. -Parallel sound chamber walls, in theory, might lead to unwanted standing waves in the enclosed air. -Another way to excite an enclosed body of air is to strike the walls of the chamber, giving them a jolt, which in turn jolts the air within. -Helmholtz resonators enclose a mass of air that is open to the atmosphere through a single, relatively narrow opening. These resonators pick up vibrations from the initial source, amplify them, and then pass them on to the surrounding air through the opening in the chamber. Air Columns -The point where the air inside a tube meets the air outside the tube is a critical point. A large opening is good for sound projection since it creates a lot of surface area for radiating the sound. -Increasing the size of the opening on a tube, and thus increasing the radiation efficiency, can be accomplished by adding a flaring bell to the end of the tube. -The ideal length/diameter ratio for a tube of air is roughly 23/1. -The cross-sectional shape of an air column has relatively little acoustic consequence. Rather, cross-sectional area is the important consideration. A squared tube behaves nearly the same as a cylindrical tube of the same cross-sectional area. -As long as the cross-sectional area retains the intended value, it doesn’t matter how a tube may curve and snake around, as long as there are no sharp angles or kinks. Other Materials -The lightness and yield of stretchy rubbers have some value when used as membranes that are easily dominated by associated air columns. -In a snare drum, the snare is made with about 12 strands of a kind of wire, resembling a coil spring that has been over-stretched. These wires are tensioned just loosely enough to rattle when the lower head vibrates sympathetically in response to the strokes on the upper head. -Coil springs make excellent reverberation devices, because a single spring can pick up and resonate a broad range of frequencies. page 13
IANNIS XENAKIS Iannis Xenakis was a composer in the mid-1900’s. Distinguishing himself from many other composers, Xenakis utilized mathematical principles in his compositions and is well known for his architectural manner of scoring music. Between his underlying concepts of sound in space, the overall imagery of his scores, and even his specifications of how performers should be situated among the audience, Xenakis provides a strong precedent for working on this project. Furthermore, Xenakis attributes many of the qualities of his work to the fact that he went deaf for a period of three years following an accident. “Metastasis,” Iannis Xenakis Examining Xenakis’s “Metastasis” in three dimensions, it is possible to create a curved structure that is very rigid as a whole, however each individual member remains flexible and resilient. Furthering this idea, it is possible to stretch a membrane across this structure in such a way that sound would be directed at the membrane.
If a membrane is attached to a framework at distinct points, it will flutter open and closed when exposed to sound waves.
page 14
THE ALEXANDER TECHNIQUE The Alexander Technique was developed by Frederick Matthias Alexander in the late 1800’s through early 1900’s. An actor himself, Alexander continually found himself losing his voice when he recited lines. Over the course of several years, he closely observed himself in the mirror as he recited. These observations led him to several conclusions about how he used, or misused, his body. Alexander noticed that when he went to recite, he would automatically pull his head backwards and downwards, thus compressing his spinal column. The solution to this problem would seem simple enough, however as much as he tried, Alexander was not able to stop this habit. The ultimate solution to this detrimental habit would become known as the Alexander Technique. Instead of trying to stop jarring his head and neck, Alexander discovered that he needed to let his body “right” itself. For the sake of terminology, this is referred to as inhibition. This process of inhibiting adverse habits allows the body to exist in its most natural state. In the context of this project, Deaf culture emphasizes that Deafness is a natural state of being. Thus it follows that the functioning of the entire body should be completely natural. Everyone has in himself an innate sense of how to let the skeleton support the body. Case in point, babies have excellent posture when they first learn to sit up. However, daily life can take its toll on people, which more often than not results in forming habits. Many of these habits are very harmful to the body, as they lead to compressing the spinal column, generating unnecessary tension, and consequently misusing the body. Furthermore, society’s teaching to “sit up straight” only enforces this muscle tension. By letting the skeletal system support the body in all of its movements, the muscles have the chance to relax and the body will right itself. In order to do this, one must not try, but rather let it happen. Paying attention to how your body touches its surroundings will prompt you to inhibit. The more you practice inhibition, the more you are able to feel your surroundings and respond with appropriate body alignment.
This project utilizes the principles of the Alexander Technique in several ways: -The seats in the auditorium are tilted such that people assume a perching position. This position encourages people to sit on their sit-bones instead of their legs, as is often the case with sitting in chairs. Furthermore, this position frees the connection between the hips and spine. The end result is enhanced bone conduction, which allows audience members to feel the sound vibrations more readily and intensely. -Sight lines in the theater are designed such that audience members need not strain or over-turn their necks in order to view the performance. -Resting benches, with head rests dimensioned according to overall body height, are located in the courtyard to encourage actors to constructively rest and align their bodies.
page 15
EXPERIMENTS Placing various materials on an exposed speaker (or any powerful sound source) produces various visual patterns and movements. In general, liquids react similarly to solid particles when exposed to sound vibrations. While liquids tend to make patterns over the entire surface area in a seamless motion (pictured to the left), solid particles tend to group together and act as a single unit, bouncing between various massings (pictured to the right). The movements in both materials originate in the center of the sound source and radiate outwards.
page 16
Iannis Xenakis dedicated much of his life to studying music and sound in a spatial manner. Observing blood cells massing together, he noticed that the movement of the cells as a combined whole produced a wave-like motion (pictured to the right). This motion of the whole, as opposed to the individual particles, is demonstrated in how salt moves when exposed to sound (pictured above). page 17
EXPERIMENTS
This type of “balloon flute� utilizes two flexible membranes on both ends of a tube. Blowing into a small hole in the tube sets the membranes into vibration and produces different pitches depending on how tightly the membranes are stretched.
The basic set up for this series of experiments consists of a rubber band stretched between two fixed points. Holding a paper tube around the rubber band and plucking the rubber band creates sound vibrations that can be felt in the paper tube (stringair-tube). Connecting a cardboard tube to the rubber band with a wooden bridge, to minimize surface area, and speaking into the tube produces vibrations in the rubber band (air-tube-string).
page 18
Holding a vibrating tuning fork in mid air will not produce much sound because the fork is not able to set much air into vibration. Touching the handle of the tuning fork to various objects can increase the audible sound because the handle is relatively high in impedance, and thus it easily transmits sound vibrations to lower-impedance materials. When the handle of the vibrating tuning fork is held against a tube, the vibrations are transmitted to the air within the tube and the resulting sound is quite loud. When the tuning fork is held against a tube touching a wooden box, the sound is also rather loud, although different in timbre than without the box. Holding the vibrating tuning fork to a metal rod attached to a paper cone (similar to the Baschet Brothers rigid cone radiators) produces yet a third audible, yet distinct sound. The differences in timbre between these three set ups can be attributed to differences in the materials’ impedances, as well as the connections between the various elements.
Holding a vibrating tuning fork against a closed wooden box produces a sound that is more audible than the tuning fork vibrating in mid air. This is because the box serves as a sound radiator. Opening the box slightly creates an effect known as Helmholtz resonance, in which the air inside the box is able to vibrate. This makes the sound of the tuning fork less muted than with the box closed. Opening the box too far however, will leave the mass of air inside the box undefined and the resulting sound of the tuning fork will be similar to, if not less significant than, when the box was completely closed. page 19
PRECEDENT
page 20
GALLAUDET UNIVERSITY Before beginning design work on the Sorenson Language and Communication Center at Gallaudet University, HBHM Architects composed a document entitled “Aesthetic Principles for the SLCC,” which was based on a workshop with Deaf students at Gallaudet University. The following design notes originated from this document.
-If you visited the campus and no one else was around, could you tell the campus was a Deaf place? -Deafness is natural state and the architecture should take its form based on these “Deaf ways of Being.” -The emerging Deaf architectural aesthetic is organic in nature: open, light, quiet, flowing, smooth, and rich with cultural metaphors that reflect the inherent diversity of the Deaf community. -The architecture should embody openness, with a smooth flow of space from public to shared to private spaces. -“The public areas should feel comfortable for everyone [...] where we can see one another from a distance [...] but also have a private conversation.” -Doors should be transparent whenever possible or desired. -Spaces should be filled with light: bodies of muted brilliance to illuminate Sign Language, enable orientation, and foster a sense of well-being. -Light should be manipulated to reduce shadows, glare, and backlit situations. -Work by Deaf artists should be displayed whenever possible to instill a sense of Deaf pride. -Key destination points should be easily viewed from a central public area. -Offices should be arranged into pods with a common collaborative space at the center. -Include small nooks throughout the public and shared spaces to provide individuals with a place of repose. -Information technology systems and devices shall be considered as architectural elements integrated into the basic planning concepts and aesthetic themes for the building. -Provide the occupants with an incentive to initiate interaction, stop, linger, and socialize. -Configure forms such as stairs and balconies to provide a variety of opportunities to see others and to be seen by others.
page 21
SITE ANALYSIS AVERAGE TEMPERATURES
AN FEB MAR APR MAY JUN JAN FEBJANMAR FEBAPR MAR MAY APRJUN MAY 2 34 43 56 68 77 Average rage High (°F) High32 (°F) 34 32 43 34 56 43 68 56 77 68 8 19 26 37 47 56 rage Low (°F) Low18(°F) 19 18 26 19 37 26 47 37 56 47 Average JUL 81 61
AUG 79 60
SEP 72 52
OCT JUL 60 81 42 61
JUN 77 56
NOV DEC ANNUAL AUG OCT ANNUAL JULSEP AUG SEPNOV OCTDEC NOV DEC ANNUAL 48 37 57 79 81 72 79 60 72 48 60 37 48 57 37 57 33 24 39 60 61 52 60 42 52 33 42 24 33 39 24 39
SOLSTICE SUN ANGLES [ROCHESTER, NY]
SOLSTICE SUN ANGLES JUNE 21
DECEMBER 21 N
N
SUN RISE 35°
W
SUN SET
[8:54 PM] W
[5:31 AM] E
W
35°
S
S
N
N
35°
E
W [4:38 PM]
S
APEX [1:15 PM]
page 22
E
35°
S
70°
22° [12:10 PM]
E [7:39 AM]
ROCHESTER, NY CLIMATE JAN
APR
JUL
OCT
IND SPEED (MPH) R, NY] AVERAGE WIND SPEED (MPH) [ROCHESTER, NY] SPEED (MPH) AVERAGE WIND 13.6 12.9 january 13.1 february 12.9 march 11.3 april 10.5 may 9.8june 9.3july 9.9august 10.8 september 12.2 october 12.5 november december 11.6 ANNUAL
13.6 12.9 13.1 12.9 11.3 10.5 9.8 9.3 9.9 10.8 12.2 12.5 11.6
ANNUAL
1.2-4.1 MPH 4.2-7.5 MPH 7.6-12.1 MPH 12.2-19.0 MPH 19.1-24.2 MPH >24.2 MPH
1.2-4.1 MPH 4.2-7.5 MPH 7.6-12.1 MPH 12.2-19.0 MPH 19.1-24.2 MPH >24.2 MPH page 23
RIT CAMPUS MAP The RIT campus has a very uniform appearance, thus making it extremely difficult to orient oneself on the campus. Parking lots surround all the academic buildings in nearly every direction. Furthermore, the main campus axes terminate at unusual points, essentially obliterating any long axial views. While the campus is adjacent to the Genesee River, the water is extremely inaccessible, further diminishing any sense of direction. The NTID campus is composed of the Lyndon Baines Johnson Hall and the Center for Student Development, outlined in pink on this map.
page 24
page 25
RIT SITE MODEL
page 26
This site model demonstrates the low-lying and sprawling nature of most of the buildings on the RIT campus. In the foreground are student dorms and the NTID campus. This portion of RIT is severely disconnected from the main academic buildings which extend to the west.
page 27
RIT ORIGINAL CAMPUS
The original portions of the RIT campus feature primarily modernist and brutalist forms. Each building is clad in the same type of brick, which has actually been patented by the university.
page 28
RIT CAMPUS ADDITIONS
Recent additions to the RIT campus focus on sustainable design. Additionally, sculptures and other art have been integrated into the campus to accentuate the gathering spaces.
page 29
NTID CAMPUS ACCESS
Existing West - East Site Section
Existing North - South Site Section page 30
PROPOSED SITE
Existing drive-through at NTID
Project site, NTID, and dorms, viewed from Gordon Field House
The map to the left indicates all of the access points for the Lyndon B. Johnson building, the Center for Student Development, the dorms closest to NTID, and the Gordon Field House and Activities Center. In order to draw further connections between these two campuses, this project aims to link these separate buildings together. Many of the main academic buildings on the RIT campus are connected with protected walkways and tunnels to help shield students from the cold winter wind. A similar approach is employed with this project.
Proposed connection point on Center for Student Development
Project site and Gordon Field House, viewed from NTID page 31
NTID LBJ BUILDING The buildings composing NTID focus on open spaces with plenty of visual connections between, across, and through them. As shown below on the first floor plan of the LBJ building, many of the classrooms are wedge-shaped such that all students can easily see each other in order to communicate effectively. Because all communication is visual, small niches are carved into hallways to allow for private conversations.
LBJ front entrance
LBJ First Floor Plan page 32
Inside a wedge-shaped classroom
Art gallery
Hallway with niches
View across gallery
Central atrium page 33
NTID COMMUNITY SPACES
Acoustical panels in CSD
NTID central courtyard
NTID courtyard and dorms
CSD community space For the Deaf community, gathering spaces are considered to be of utmost importance because they help form a sense of unity and connectedness. These spaces utilize natural, and often indirect, lighting in order to illuminate Sign Language and minimize glare. Art work is often incorporated into these spaces to establish a sense of Deaf pride.
Natural lighting in CSD page 34
Another type of gathering that centers around an artistic expression of Deaf pride is Deaf theater. NTID already has an active Deaf theater program, however their existing 500 seat proscenium theater hardly differs from a theater for hearing people. More recently, NTID converted a classroom into a black-box theater, however the size and location of this theater put severe restrictions on the types of performances that can be produced in this space.
NTID EXISTING THEATERS
Acoustical paneling in proscenium theater
Black box theater
Rear of house of proscenium theater
House of proscenium theater
Proscenium theater stage page 35
PROCESS
page 36
SITE SKETCHES In order to focus on uniting the Deaf and hearing communities, it is important to consider how various types of occupants will circulate through the site to the proposed theater. These circulation paths form the basis for the overall plan of this project.
As important as these circulation paths are in plan, they are equally as important in section. The sectional qualities of the proposed theater and supporting spaces must allow for visual connections between different types of occupants. Additionally, these sectional connections must take full advantage of the sunlight patterns on the site. page 37
MODELS - PLAN Opening up from the NTID campus to the RIT campus
Drawing light into the inner-most spaces page 38
Creating a space of openness, connectedness, and unity
Creating a sheltered walkway through the NTID campus to the RIT campus page 39
MODELS - PLAN Forming an interior theater space that leads gently into an exterior amphitheater space
page 40
MODELS - SECTION
Establishing sectional connections between the most public spaces, while allowing the more private spaces to overlook in solitude
page 41
CONCEPTUAL SKETCHES Reflections of sound when directed at flat, concave, and convex surfaces
According to the Alexander Technique, sitting in a chair is very detrimental to the alignment of the spine. In order to allow the spine to lengthen, promote sitting on the sit bones (as opposed to the legs as chairs encourage), and thus allow the body to be more resilient and sensitive to vibrations, the angle between the hips and spine should be approximately 135°. This type of seat is termed a “perch.” Perches inherently accommodate people of varying heights.
page 42
With the audience sitting on their sit bones, supported by their feet, it is possible to use bone conduction to transfer sound waves and vibrations from the stage and orchestra directly to the audience. One of the main challenges with this concept is that aside from dancing on the stage, sound produced by the actors and orchestra exists in air. In order for bone conduction to occur, this sound must be transferred to a solid medium. A series of tapered and un-tapered tubes (similar to Alexander Graham Bell’s early design for telephone wires) serves the purpose of transferring sound vibrations from the air to the solid material of the seats. This transfer of sound is very similar to the resonating noise of an HVAC system through the duct work.
page 43
CONCEPTUAL SKETCHES
Bimetallic strips have the ability to move passively, according to how much heat is directed at them. Creating a louver system of bimetallic strips means the sun can slightly alter the lighting and acoustics within a space by shifting the surface of a wall between convex and concave elements.
page 44
Considering the Alexander Technique further, the sight-lines of the theater take into account the natural movement of the head and the ability to discern symbols (or Sign Language) from a distance at various angles. In order to promote proper spinal alignment (and thus resiliency) in the students at NTID on a daily basis, a courtyard has been designed for the purpose of constructive rest. According to Alexander, people should lay on a hard surface with their heads slightly elevated for 15-20 minutes per day. These resting benches have been specifically dimensioned to accommodate different sizes of people.
page 45
DRAWINGS
SITE PLAN This iteration of the project focuses on three systems for visualizing and transmitting sound waves: a flexible membrane, bimetallic louvers, and a series of tubes. Sound from the actors on stage is reflected toward a flexible membrane in the ceiling. This causes the membrane to vibrate, and consequently lets light flutter into the theater based on the sound waves. A complement to this membrane, bimetallic louvers in the rear of the theater flex according to how the sun shines upon them. As these louvers alternate between concave and convex surfaces, they slightly alter the acoustics within the theater. Lastly, a series of tubes is designed to transmit sound vibrations from the stage and orchestra pit directly to the floors and seats of the audience. These tubes are dimensioned according to the various frequencies of sound produced within the theater, and run both laterally and longitudinally through the space. To connect the two campuses spatially, a path leads from the existing NTID Center for Student Development, past the theater lobby and courtyard, through an existing residence hall, along the rim of the amphitheater, and branches off to the two main East-West axes of the RIT campus. page 46
THEATER LEVEL PLAN
THEATER SECTION page 47
SECTIONAL MODEL #1
page 48
page 49
RESOLUTION project objectives
as theater will exist...
amplify
speech
hear
visualize
dance, music
transmit
speech, dance, music
speech, music
signing, Speakingsee tube directs sound vibrations from speech into resonating box
feel
dance, music
speech, dance, music
Sound vibrations cause speech box to vibrate and radiate/project sound toward audience
project objectives
as theater will exist...
amplify
speech
hear
speech, music
visualize
dance, music
see
signing, dance, music
transmit
speech, dance, music
feel
speech, dance, music Audience members feel vibrations from speech in their hands from dancers in their feet from orchestra in their seats
Stretched springs inside plastic balls vibrate sympathetically with speech from actors [holes in seats facilitate Helmholtz resonance]
Wooden seats vibrate from metal seat frames [medium impedance] Metal seat frames vibrate from plastic tubes [high impedance]
Plastic tube vibrates from air inside tube [medium impedance]
Metal rods transmit vibrations to wooden floors of house seating [low impedance]
Strings transmit vibrations from stage box to metal rods [high impedance]
page 50
Air inside tube vibrates from orchestra instruments [low impedance]
project objectives
as theater will exist...
amplify
speech
hear
speech, music
visualize
dance, music
see
signing, dance, music
feel
speech, dance, music
transmit
speech, dance, music
Vibrations from dancers on stage set air inside stage box into vibration
Soundposts carry vibrations to bottom of stage box
DIAGRAMS
Lights shine through glass box to cast shadows above stage
Light-reflective particles enclosed in glass box move according to sound vibrations caused by dancers
Strings attached to metal rods vibrate [longitudinal waves]
Metal rods vibrate along stage box bottom
Sunlight shines through window and illuminates membrane
Bell directs sound vibrations at flexible membrane
Orchestra instruments set air into vibration [low impedance]
Bell directs vibrations into plastic tube [medium impedance]
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PLANS
TO THE QUARTER MILE
SITE PLAN
The final resolution of this project focuses on three distinct goals: amplifying the speech of actors (mainly intended for audience members who are Hard of Hearing), visualizing the sound waves produced by the dancers and orchestra, and transmitting the sound vibrations produced by speech, dancing, and the orchestra. These goals are illustrated in the diagrams on the preceding pages. Implementing dual systems of strings and tubes in the theater allows sound vibrations from specific parts of the stage and performance to be directed at specific parts of the audience seating. Vibrations originating from dancers on stage are transmitted via the strings to audience members’ feet. Simultaneously, vibrations originating from the orchestra are transmitted via the tubes to audience members’ seats. Sound vibrations generated by actors’ speech are transmitted sympathetically to audience members’ hands. page 52
BOX OFFICE STORAGE
MEN’S DRESSING ROOM
WOMEN’S DRESSING ROOM
SHOP
REHEARSAL
THEATER LEVEL PLAN
In order to make more personal connections between the performers and audience members, the theater is organized in plan according to the frequency ranges of sound produced on stage. This means that depending on where someone sits in the audience, they will have a unique vibratory experience based on the performers directly in front of them. To accommodate these different frequency ranges, varying sizes of tubes and bells, as well as varying tensions of strings, are used in the different sections of the theater. page 53
SECTIONS
TENOR SECTION
ALTO SECTION
BASS SECTION page 54
Differing from the previous iterations of this project, the orchestra is to be located on the edges of the stage itself, rather than in a pit. This allows the audience, as well as the actors, to make direct visual connections with the orchestra members. Furthermore, if there is not an orchestra for a particular performance, the edges of the stage can be used for acting, or even serve as a type of large-scale drum.
TREBLE SECTION
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SECTIONAL MODEL #2 With respect to visualizing sound vibrations, the membrane system operates similarly to those in previous iterations, however there are four membranes located in the rear of the house, which receives Southern light. These membranes are designed to vibrate at specific frequency ranges, and are driven more directly by flared tubes pointed at them. A second visualization system consists of glass boxes containing light-reflecting particles. These boxes are integrated into the stage itself, such that when actors dance and step on the stage, the particles move around. With lights positioned under these boxes, the particles will cast moving shadows on the panels above the stage.
Similar to using a microphone, actors who are reciting their lines will hold a speaking tube up to their mouth. While ultimately amplifying the sound of speech, these tubes will also provide audience members with visual cues as to who on stage is speaking.
PROPOSED NORTH - SOUTH SITE SECTION page 56
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TOPICS RESEARCHED While not exhaustive, the following list documents the major topics that were considered in designing this project.
Air Columns Air Chambers Alexander Technique Baschet Brothers Banjo Bell Bell Metal Bridges Bone Conduction Concert Hall Deafness Deaf Theater Drum Floating Soundboard Helmholtz Resonators Impedance Kazoo Longitudinal Waves Megaphone Phonautograph Photophone Pipe Organ Radiation Resonance Rochester, NY Russolo, Luigi Sight Lines Sitar Snare Drum Sound Board Sound Chamber Sound Reflection Speaker Speaking Tube Standing Waves Steel Guitar Strings Stroh Violin Sympathetic Vibration Tin Can Telephone Xenakis, Iannis
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FURTHER STUDY The following questions could serve as a starting point for bringing this project to a higher level of resolution.
-How would curved rows of seating impact the sight lines within the theater? -How should the stage lighting be designed so as to not interfere with the vibrationdriven light effects? -How thick or resilient are the strings? -What type of tuning mechanism would be used for the strings? -For the membranes? -What species of wood should be used to construct the stage box? -The floors within the house? -The seats within the house? -What type of metal should be used to construct the seat frames? -What type of plastic should be used to construct the tubes? -How could the sympathetic resonance of the hand balls be enhanced?
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WORKS REFERENCED
Ando, Yoichi Auditory and Visual Sensations 1939
Cowan, James Handbook of Environmental Acoustics 1994
Gelb, Michael Body Learning: An Introduction to the Alexander Technique 1994
Gibson, BenoĂŽt The Instrumental Music of Iannis Xenakis: Theory, Practice, Self-Borrowing 2011
Grueneisen, Peter Soundspace: Architecture for Sound and Vision 2003
Bart Hopkin Musical Instrument Design 1996
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Lund, Cornelia Audio Visual: On Visual Music and Related Media 2009
Martin, Elizabeth Architecture as a Translation of Music 1994
Matossian, Nouritza Xenakis 1986
Pelkonen, Eeva-Liisa Albrecht, Donald Eero Saarinen: Shaping the Future 2006
Renzo Piano Building Workshop Architettura & Musica 2002
Varga, Bรกlint Andrรกs Conversations with Iannis Xenakis 1996 page 61
PRINT Not Pictured: Burris-Meyer, Harrold.
Acoustics for the Architect (1957)
Cranz, Galen. The Alexander Technique in the World of Design: Posture and the Common Chair, Parts I & II (2000) HBHM Architects. Izenour, George. Rettinger, Michael.
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Aesthetic Principles for the SLCC (2005) Theater Design and Modern Architecture (1978) Handbook of Architectural Acoustics and Noise Control (1988)
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http://electronics.howstuffworks.com/speaker6.htm http://www.antiquetelephonehistory.com/sciencefork.html http://www.dosits.org/science/soundsinthesea/airwater/ http://www.ninestones.com/burntearth/articles/globarticle/index.html http://www.kazoos.com/historye.htm http://www.britannica.com/EBchecked/topic/384986/mirliton http://pms2012-2013.blogspot.com/2012/11/week-4-generators-and-resonators.html http://en.wikipedia.org/wiki/Tin_can_telephone http://www.phys.unsw.edu.au/jw/Helmholtz.html http://lib.semi.ac.cn:8080/tsh/dzzy/wsqk/selected%20papers/Journal%20of%20sound%20and%20vibration/178-337.pdf http://artsedge.kennedy-center.org/students/features/connections/science-and-music.aspx#instruments http://www.britannica.com/EBchecked/topic/555422/soundboard http://blog.deeringbanjos.com/how-banjos-work/ http://www.britannica.com/EBchecked/topic/59686/bell-metal http://francois.baschet.free.fr/front.htm http://historywired.si.edu/object.cfm?ID=46 http://www.guggenheim-venice.it/inglese/collections/artisti/biografia.php?id_art=175 http://www.strandlighting.com/index.php?submenu=LuminairesTheatrical&src=directory&view=products&srctype=detail&r efno=2027&category=Luminaires_Theatrical
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