Studio 30 | Resonate Studio C Lynn Chan 887657
Research | Acoustics and Architectural Design
After Mondays desk crit session in week 3, what I realized was that I needed to first define a hypothesis in order to facilitate/feed/define my vision with regards to the acoustic design. i.e what did you think, based off the initial aural & light tests (scientific terms), and to use the digital testing to validate/disprove the hypothesos. In order to achieve that, I was recommended to read Barron’s Auditorium Acoustics and Architectural Design as it would provide me with an understanding to base my observations off. I realize that firstly, I did not understand the implimentations of my physical tests enough to build a hypothesis off. I began with defining my vision: based of Sabine’s: Requirements for room acoustic (Sabine,1992): “In order that hearing may be good in any auditorium, it is necessary that the sound should be sufficiently loud; that the simultaneous components of a complex sound should maintain their proper relative intensities; and that the successive sounds in rapidly moving articulation, either of speech or music, should be clear and distinct, free from each other and from extraneous noises. These three are the necessary, as they are the entirely sufficient conditions for good hearing.” My requirements for room acoustic: In order that sound quality be considered ‘good’, it is necessary that the sound should be sufficiently loud, that the simultaneous components of a complex sound (melody/jazz swing) should maintain their proper relative intensities; and that the successive sounds in rapidly moving articulation should be clear and distinct, free from each other and from extraneous noises. These three are the necessary, as they are the entirely sufficient conditions for good hearing.
And later narrowed it down to fit the “phone scale” to respond to our breif: Requirements for phone scale: In order that sound quality be considered ‘good’, it is necessary that the sound should be sufficiently loud, that the simultaneous components of the music (melody and bass) should maintain their proper relative intensities; and that the successive sounds in the rapid articulation of, in my case, jazz music, should be clear and distinct, free from each other and from extraneous noises. Additionally, I would like to ensure that the ‘sharpness’ from the trumpet and trombone’s “attack” be mitigated to a level that is comfortable to the listener. With the vision difined, I now have to come up with a hypothesis to test.
Goal: To improve the sound quality of the brass instruments - soften the attack - while balancing the melody and bass.
Week 7 - Music Theory
Research | “Adagio” - at ease Music Theory 60 BPM = 1 beat per second. BPM is the most precise way of indicating fast or slow tempo. Used in applications where musical durations must be completely precise, such as film scoring.
Italian Music Terminology Largo, andante, allegro, presto etc Lento – slowly (40-60 BPM) Larghetto – (60 – 66 BPM) Adagio – “at ease” (66-76 BPM) Allegro – most frequently used tempo marking (120 – 168 BPM) includes the “heartbeat tempo” sweet spot Presto – “very fast”, a common tempo in fast movements of symphonies (168 – 200 BPM)
Tempo A key element of a musical performance. Conductors use different tempos to help distinguish their orchestra’s rendition of a classic piece. Especially important when it comes to film underscore as certain tempos are essential to set certain moods. One particularly notable tempo: “heart rate tempo” - a musical speed that roughly aligns with the beating pulse of a human heart, which falls in the range of 120 – 130 BPM. Analysis has shown that a disproportionate amount of hit singles have been written within this tempo range. Conversely, the “at ease” tempo, anything close to 60 BPM, is considered I guess ‘at ease” since it aligns with the resting heart rate of a human heart. Links closely to/explains why 60 BPM is known to have relaxing qualities and often used in “relaxing scenarios/elevator music”. 80 BPM is a great starting point for film because it is seductive but easily syncs with faster-paced scenes. 60 BPM is a bit slower and somehow sounds “profound,” while 140 BPM is a bit more energetic and dancelike.
Examples of 66-76 BPM Music “La vie en rose” - Louis Armstrong https://youtu.be/qtfJj8oF6xM Tempo: 70 BPM Style: Jazz (1950s)
“Summertime” - George Shearing https://youtu.be/ixdJLXDT_QM Tempo: 70 BPM Style: Classical (1930s)
“Prélude à l’aprés-midi d’un Faune” - Claude Debussy https://youtu.be/jlLoXvamfZw Tempo: 70 BPM Style: Romantic (1890s)
“Ashitaka and San” - Joe Hisaishi https://youtu.be/V190P2-_t_4 Tempo: 74 BPM Style: Pop (1990s)
“Kimi wo Nosete” - Joe Hisaishi https://youtu.be/gdpEnkcT7Io Tempo: 72 BPM Style: Pop (1980s)
“Stardust” - Frank Sinatra https://youtu.be/Gfv9_WjQR-k Tempo: 70 BPM Style: Jazz (1960s)
“Every Rose Has Its Thorn” - Poison https://youtu.be/Oztkl0GKTng Tempo: 70 BPM Style: Rock (1980s)
Main Stage - Reflection
“Main Stage” The “Main Stage” was to be the large scale intervention for music – a sound hall with an optimized acoustic shell catering to jazz festivals and performances. The overall form of the Main Stage was informed by the concept ‘Adagio’ I wanted to translate that into a flowing, slow-moving structure that reflected being at ease. As per my concept, I wanted to combine the idea of music, sound and one’s experience through and at the site, and wanted this to reflect in the form as well. This naturally led to the conclusion of a gridshell structure – as it would be the most efficient structural method to build a ‘wave form’ structure. I looked into some examples of concrete shell structures and truss systems in the very beginning but decided quite quickly that it would not support the desired form I had in mind. This was followed by research into different timber gridshell structures and their construction methods.
Savill Building - Buro Happold
Although timber is generally the perfered material used for a gridshell structure, I was aware that other construction methods included aluminium, steel, timber, cardboard or glass-fibre composites. Ultimately I decided on a timber structure too as I thought the choice of timber gave a ‘lighter feeling’ to the overall structure over say a steel of aluminium structure. An interesting option – paper, did cross my mind (Japanese Pavilion - Shigeru Ban) however the structural aspect of it proved to complex for me to apply to my own project. (Maybe in the future) Another reason for the choice of Gridshell was the ability to wire lighting and mechanical systems through it (Swatch Headquarters - Shigeru Ban). Research into the gridshell formation and structure led me to believe there were quite some limitations when it came to creating the overall form (Naicu et all. 2014 - “Timber gridshells: Design methods and their application to a temporary pavilion”). The active bending structure seemed to be limited to a doubly curved surface. The nature of traditional gridshell construction did not allow for the flow-y structure I had in mind, that I was developing through my grasshopper iterations.
I did however discover one precedent (Centre Pompidou - metz), also by Shigeru Ban, that utilized a gridshell structure, that was quite free in its design. I found that it utilized ‘prefabricated gridshells’ rather than the active bending structure which allowed for more freedom in the form of design. The form was inspired by a woven Chinese hat with hexagonal motifs in both the gridshell structure and as modular elements throughout the form. In the case of Centre Pompidou-Metz, the complex joints in the hexagonal motif of the gridshell, driven by the concept, was the reason why the structure had to be prefabricated. The gridshell is covered with a a fibreglass and teflon membrane. What really drew me to this project in particular was after realizing the similarities in what I was aiming to create with my own gridshell structure. From the very beginning I envisioned a double skinned structure – a white solid external form with an optimized internal structure. Originally I imagined these two structures to be detached but later realized they could (and should) be connected. The Pompidou-Metz precedent helped me realize that timber could be used as both a tensile mesh structure for the fiberglass/Teflon membrane, and a compressive shell structure. In my case, I needed to flip that – have the tenso structure intenrally.
Centre Pompidou-Metz - Shigeru Ban I did some research into tenso structures after suggestions from Sophia about making the internal shell be supported by the external shell. My main references were Soundforms by Flannagan Lawrence – it informed a lot of the design choices for the internal shell. Soundforms is a portable acoustic shell, made from tenso truss structures to be fully collapsible and hence easily transportable. It has an internal and external form, with PVC coated Polyester fabric as the internal, acoustically optimized skin. The form itself is inspired by the mythical qualities of a seashell - the ribbing of the internal skin personally reminds of a throat. Despite many articles outlining the acoustic research and technology that went into said research, there aren’t very many articles about the structure of Soundforms. I did however, find out that the PVC coated polyester, was, chosen for its acoustic qualities, and, through a section cut of the structure, that the internal fabric was, indeed attached via a tenso structure to the truss system holding up the external shell form.
Soundforms - Flanagan Lawrence From here, I looked at a couple options for a fabric interior (next page)
Main Stage - Reflection | Research
Acoustic Shell Internal Fabric Material Research Feedback: • the double-layered grid shell structure – the non-structural lattice is redundant – what is the point of having double the material doing the one job? • The structural lattice will create pockets that trap sound. Sound optimization quality will be lost. • Solution: either have plywood panels at the back or a cloth material at the front? • Criteria: Want the diagrid structure to be visible. • Options: • Translucent fabric like Teflon – Shigeru Ban, Centre Pompidou-Metz? • Soundforms material? Soundforms – Flanagan Lawrence The notion/idea of the design is for sound to be projected from inside out. It is the first of its kind as an outdoor stage whereby the structure is designed for musicians to be able to hear themselves, which in turn allows them to play better. https://www.flanaganlawrence.com/soundforms The external fabric skin is made out of white PVC coated polyester. The internal fabric was black to prevent reflection. Roof system comprosed of several timber acoustic baffles. Inner cheeks of the structure made out of joelastic white fabric with a slight shimmer to it. https://www.architen.com/projects/soundforms/ “The skin membrane is a white PVC coated polyester fabric by Architen Landrell. Besides its superior acoustical properties the structural fabric has unmatched strength, durability, and features self-cleaning capabilities.” https://architizer.com/blog/inspiration/collections/structural-fabrics/
Soundforms - Flanagan Lawrence
PVC Coated Polyester – Architen Landrell https://www.architen.com/materials/pvc-polyester/ • Most common and least expensive of fabrics used for tensile structures. • Has excellent strength, flexibility and translucency. • Life expectancy of 15 to 20 years. • Will be able to see structure behind, provided light passes though? • Generally used in tensile fabric structures • Can be printed on and also can be coloured. • Foldable so can be used in both temporary and retractable structures • Fire retardant and anti-fungicides + fully recyclable. • Used in Soundforms by Flanagan Lawrance so know that it has good acoustic qualities.
Soundforms - Flanagan Lawrence Kingly Court, London Silicone Glass – Architen Landrell https://www.architen.com/materials/silicon-glass/ • Up to 42% light transmission in white. • Lightweight + high life expectancy and high fire rating. • Suitable for indoor/outdoor application
Interiors - Architen Landrell
Cottentham Village College
Main Stage - Reflection| Research
Tenso Structure Next I had to figure out how to attach the fabric onto the gridshell. I looked at many tenso structures, they were useful however the tenso fabric was usually stretched onto the exterior of the building form. It took me quite a while to wrap my head around how that worked. Amenities Building of the Inland Revenue Centre https://www.tensinet.com/index.php/component/tensinet/?view=project&id=3789
Amenities Building of the Inland Revenue Centre
Tenso Mechanism Detail
Amenities Building of the Inland Revenue Centre https://www.tensinet.com/index.php/component/tensinet/?view=project&id=4422
Athens Heart Shopping Mall
Movable Tenso Mechanism Detail
Main Stage - Reflection | Lighting
Finally, the Lighting To deliver: Our lighting design on set. • Performance stage lighting • Working lights • House lights Lighting should reflect the majority use of the hall e.g. classical music concerts? Research as much as possible online & in books Should be adapted for standard function of stage – Jazz + Classical music concerts (Joe Hasashi) There will be other temp lighting systems for year round programs Concert hall stage layout has 3 components area: • Main stage area - Performance stage lighting • Pit - Working lights • Extended stage area - House lights House lights • Lights that light the auditorium area • Are on before & after concerts + during the interval but not during the actual performance. • To allow ppl to select seats Working lights • Used by staff to see what theyre doing during normal day-to-day routine in the hall. • Different from performance & house lighting systems – they are simpler, lower power systems that are relatively cheap to run & maintain. A Method of Lighting the Stage – Stanley McCandless Research Phase – Things to consider:** • What is the setting of the play? • When does it take place? (day or night?) • What (and where) is the “light source”? • What is the style of the work? • The mood? Design Phase – Things to consider: • Create a list of Lighting Systems (acting areas, washes of side, back or downlight, specials, background lights...) • Need to produce the looks required by the script and/or director • Create a Lighting Key for each major look • Divide the stage into Lighting (Acting) Areas. • Lighting the Acting Area • Toning & Blending the acting areas • Lighting the Background • Adding Specials
Split stage into 4 coverage areas: • Downstage Right, Downstage Centre, Downstage left, Upstage Center etc. Front Lighting • Use of front lighting comes under McCandless’s Theory of Lighting, brings a sense of sunlight into the scene. Effective in both theatrical and artistic shows, and is a lighting method which significantly reduces the presence of shadows. Side Lighting ** • Helps the performer, particularly if the performer is walking. Helpful method of lighting to consider if you’re going to have performers, or if you want to walk around the stage while you act. High Side Lighting • Usually mounted anywhere between the 30 & 60 degree angles to show the upper part of the body. As a consequence, the elbows, legs, middle chest & top of the head are really accentuated which can help hide any awkward facial expressions. Down Lighting • Shines upwards towards performer’s eyes. Staged Architecture - Mark Fisher End output can be a drawing/sketch or render Think about how light & Shadows give form to architecture – FOH & BOH can be different. Plan as not only a diagram for use but also to showcase lighting – light, no light, light, no light “... column is where the light is not, and the space between is where the light is” - Louis Kahn. Masterplan** example. Explain program using the lighting systems. • If there is a concert on, what happens to the secondary programs? - on or off? • Off inside but a lighting system all around to provide people with wayfinding? Circulation highlighted? • Think of this as doing 2 things in 1: explain the program + talk about the lighting systems. 1.20 section** • The ground-structure connection can’t be just soil. Must have backfill detail too. • Look at AS 2870 – 2011 for details • Due to site, probs need even more structure under shell. • Waffle raft slabs – AS 2870 • Built on a level site using cardboard or polystyrene void formers to produce a close grid of reinforced concrete ribs, which support the slab panels. • Footing system is cast on the surface using forms rather than trenched into the foundation, site preparation is minimized and reduced concrete and reinforcement is required. For Thursday: • Should have a selection of details to see if they are the right details to have been chosen • Start going through the process of drawing all components that make the tectonics of architecture. • Want to see the drawings. Next Monday: Gab will be around so last check off for Optimization Next Thursday: • Mock Crit – will present hard 5 min cutoff. • Focus on getting entire narrative written.
Main Stage - Reflection | Research
Jazz Lighting vs Pas De Deux https://www.d.umn.edu/~mharvey/handbook5604.html Common with Jazz dance movements to project the dancer’s shadow on the backdrop with spotlights placed in front of the footlights. Consideration for Jazz dances include “visibility, movement focus, body delineation and form”. Plus, jazz numbers are usually show pieces for mood value and so lighting is generally considered more theatrical. • Front lighting washes out the dancer and draws more interest to the shadow • Doesn’t show movement clearly. • However shadow projection provides enough interest to justify its use provided its not used for long periods of time. • Multi-colored shadows draw all interest away from the dancer. • Might not work well for dance but for a musical performance, likely works well. - multicolored front lighting.
Common for Jazz numbers to utilize colored lighting, mainly in red, blue & green. • Beal Street Lament uses red, blur & green spotlights to emphasize movement.
From article, gather that there should be a front light, spotlight (top), footlight spotlight, side spotlight. • Low angle lighting provides theatricality. Have a “Basic 15 Spotlights” Lighting for a grande pas de deux less creative than that of modern jazz. Usually “floods the stage with all of the available light, a most deglamourizing effect, plus a “follow spot” with a Flesh Pink gelatine that generally lags behind the dancers if they move too quickly.” Side lighting important in Ballet and should make a “perfect wash” • “perfect” wash - wash should be smooth and complete, without shadow areas or noticeable angle changes (which add interest to modern dance and modern ballet, but add confusion to classical ballet). • To note: side lighting is especially important for classical ballet because of its ability to make the dancer’s legs appear slimmer and longer + costumes and jewelry more brilliant. A little front lighting is necessary to offset the harsh shadows of side lighting but should be kept dim enough that major illustrations should come from the side. Dim blue footlights and borderlights can be used to add a color value to the costumes especially the underside of the tutu.
Jazz Lighting
Pas De Deux Lighting
Main Stage - Reflection | Research
Refik Anadol - If Machines could dream https://flaunt.com/content/refik-anadol https://refikanadol.com/works/wdch-dreams/
For the final component of the lighting, I thought about bringing back an initial idea i had about how I’d incorporate lighting onto my Main Stage venue. I was initially toying with the idea of incorporating some of Refik Anadol’s works into my project – in particular, “If Machines could Dream”. I learned of it from a talk I attended as part of NGV Design week where Refik gave an insight into his works on combining digital information and visualizing it into a form of art. I felt this was an area that was particularly relevant/in line with my Archive concept where i explore archiving sounds & music in a different way, and then also visualizing it in new ways too.
Refik Anadol - “WDCH Dreams”
Refik Anadol - “Melting Memories”
Refik Anadol’s “WDCH Dreams” was a project in 2018 where he catalogues the 100 archival years of the Los Angeles Philharmonic, transforming the information into a fantastical visual display that was projected onto the Walt Disney Concert Hall. Refik’s portfolio of works utilizes advanced methods of data compression, algorithmic processing, machine learning, and light projections. In the case of “WDCH Dreams”, to me, the most striking part, that I thought would be a great additional layer to my Main Stage venue was this idea of combining music and technology, into a form of art, which was to be then projected onto both the interior and exterior of my acoustic shell. This concept was the main reason for my keeping the external and internal material colours a simple white. With this in mind, I am unsure if i’ll have the time to incorporate this into my project - perhaps through a night render?
Visualising data On a personal note, Refik’s works are amazing. If you havent yet, I encourage you chheck them out. https://refikanadol.com/works/wdch-dreams/
Refik Anadol - “WDCH Dreams”
Refik Anadol - “WDCH Dreams”
Retreat - Reflection
“Retreat” The concept of the retreat came about with the intention of creating a space of relaxation where individuals can escape from the busy city life. Due to the location of the site, I felt it was important to come up with an off-season program that individuals would actually, take the time out of their busy schedules to visit, and since the site was quite a distance away from the Metropolitan areas, felt accommodation to be a necessary and integral part of the off-season program. As mentioned before, my concept of “Adagio” involved combining the idea of music, sound and one’s experience through and at the site with the aim of using sound and music to revitalize Collac Quarry. I felt the notion of a ‘sound/music retreat’ would fit really well with my concept while also addressing my concerns about the off-season program.
Therme Vals - Spa
Therme Vals - Spa
The retreat is my small-scale music intervention and explores the idea of how one can escape to Collac to immerse themselves in sound. This intervention focuses on the sense of “to see”, with it’s main features framing views of the revegetated landscape. The idea is to have each unit incorporate its own ‘listening room’ that sports a framed view of the revegetated landscape. This was something I took inspiration from Peter Zumthor. His book “Atmospheres” describes spaces that makes one feel comfortable, a space where you sit and think “ah, I can be here” but also designing these little gaps that tease the next space, prompting the user to explore the architecture. While this is an amazing skill in wayfinding, I will be focusing on how Zumthor frames these spaces. The particular image that really stuck with me was from the “Therme Vals Spa’.
Therme Vals - Spa
The initial planning was very much driven by the Penninsula Hot Springs, but after feedback decided that the accommodations were too densely packed. Currently, how the units shape and how they are arrayed originally came from the topography of the site. In the particular area I located my retreat contains lots of stepped landforms. These landforms would form separations in an otherwise straight road, as well conform into a ‘center’. This form, I found served many benefits: firstly, this separation of volumes (rather than one large block) allowed for unobstructed views out across the site towards the surrounding revegetated landscape.
In general, three blocks would be grouped together for maximum optimization. This provides unobstructed views and also centralizes circulation and facilities within the center of the blocks creating potential for a communal space at the center of the accommodation blocks.
As a long term intervention, depending on the density and popularity of the Collac off-season program, this form can be either expanded by increasing the number of units in each block, or be arrayed in groups across the site, creating modular blocks.
The individual units are made to be modular. There are three different sizes, catering to different typologies – individual units, couples units, and family units. Making the units modular was a criteria for my retreat design as it would relate to my retreat’s ability to expand.
The external form and materiality was derived from the Main Stage and Archive form. I still wanted the form to be somewhat curved but, obviously, within reason since this is a small scale accommodation and utilizing a prefabricated timber gridshell structure in here doesn’t really make sense. I looked for a form that was slightly curved but would still be simple/easy to build and replicate easily. Lighthouse by Sheppard Robson’s form fit the mental image I had in mind, with a curved roof profile and straight back. In Robson’s case this building was designed to be net-zero however do to my wanting to continue the architectural language of the Main stage and Archive, I had to forgo that.
Lighthouse - Sheppard Robson
Structurally, I still wanted to incorporate a lattice structure in the foundation, possibly even as a visible design motif. I’m looking to utilize an exposed timber diagrid structure as the foundation of the accommodation, and clad the sloped roof and sides with the same white alucobond. What I’d like to develop it to is something like the Tomioka Chamber of Commerce by Tezuka Architects but again, unlikely that I’ll get there, but we’ll see. Ideally id’ like to, in particular incorporate the glass diagrid facade with lattice shading in alternate squares. I feel like that would add an atmospheric element to the interior of the retreat while still tying with the overall architectural language.
Retreat - Reflection
“Sound Music Archive” I wanted to include a space that preserve sounds, songs and music history that visitors can experience hands-on, as a part of my off season program, along side the retreat. The language of the internal form, similar to the retreat, was derived from site topography lines intersecting a pure rectangular shape with a cylindrical core taken out of it. The language of external form derived from a combination of translating ‘adagio’, visualizing ‘slow movement’ in a ‘wave’ form, as well as the ‘Main stage’s form. This concept also translated internally into gradated/rampy walkways, which is the main feature/center of my archive.
UK Pavilion Seed Cathedral
Guggenheim Museum Bilbao
In this archive space, sound and music is archived in a similar way to how vinyl are produced – data (or parts of it) is pressed or engraved onto a piece of vinyl/acrylic rod, and stored along the walls surrounding the internal ramp. This idea was inspired by the UK Pavilion Seed Cathedral by Thomas Hetherwick, and the layout, Guggenheim Museum Bilbao by Frank Ghery. Reason why the Gunggenheim Museum was an important precedent for me came from the Atmospheric designs of Peter Zumthor. As mentioned in my reflection on the ‘Retreat’, I was very moved by Zumthor’s description of atmospheric spaces and wayfinding in the Therme Vals Spa - the idea of using light and framing of spaces to encourage wayfinding was something I felt would be an important driver in my archive. My reasoning for having the ramp double as circulation and the archive stemmed from that.
Therme Vals - Spa
Therme Vals - Spa
Additionally, the intergation of light by Kaisma Museum by Stephen Holl was another option I thought had potential – diffused lighting.
Kaisama Museum by Stephen Hall
Archive - Reflection | Research
Winery by Peter Zumthor | Blade Runner - Lighting Design Another layer id like to incorporate into my design is the play of views and lighting within the interior of the museum. Rather than having the interior be either vey well lit, or dark and moody, I thought there was an opportunity to develop the roof of my archive into one that would create these opportunities for light to penetrate and frame spaces, contributing to the atmosphere of the internal archival space. Some precedents that were strong drivers to this concept were scenes from Blade Runner and Winery by Peter Zumthor.
Winery by Peter Zumthor
Blade Runner - Lighting
Archive - Reflection | Research
Mona - Museum of Old and New Art Hobart, Tasmania The other option I could go with was utilizing artificial lighting, much like Mona – Museum of Old and New Art. Note: Interesting planning - the most striking part of this museum is how the internal architecture ties in so well with the type of Modern Art MONA exhibits. That may not seem to be that obvious just from looking at the plans but it translates well when youre in the space.
Retreat - Reflection
Week 6.1 | Reflection
Listening Booth
Casset
53 m²
81 m²
Screening Room Screening Room
Casset
Gallery
19 m²
50 m²
Screening Room 50 m²
50 m²
Film 464 m²
399 m²
Loading Sheet Music
Gallery 2
Gallery 1
150 m²
405 m²
400 m²
CD
292 m²
552 m²
Toilet 55 m²
Film 107 m²
1
Film
Server
LP 188 m²
Toilets Listening Booth
Listening Booth
50 m²
50 m²
533 m²
202 m²
Theatre 400 m²
147 m²
VCR 308 m²
Ground Floor 1 : 200
1
Level 1 1 : 200
After the crit session on Monday i realized I had to re-evaluate and decide what exactly it is that I am, my archive, is archiving. The thought or idea of just having this space be somewhere that houses the collection of another library’s collection, although helps me narrow down my program and brief a lot more, upon reflection, doesnt really do much for my retreat program. The museum/archive was originally planned to be a tie in with, that adds to the ‘sound retreat’. After doing some hard thinking, I decided that perhaps I should take a few steps back to my idea of a museum that visualizes sound, and the whole Refik Anadol and teamLab idea. Something that still plays around wtih the visualizing of data through technology, and how i could make that data, be what i am archiving.
My thought process kind of went to a place of seed banks - what if the archival medium is something like engraved or 3D printed blocks or rods with the sound data on it (kind of like how vinyls work), where you can browse, then pick, then essentially bring it over to a device or machine that reads - and visualizes that sound. I thought that would be an interesting concept to work with. When I thought seed bank - my mental image was of the “Seed Cathedral�, where little rods wirh the seeds suspended in it was displayed along a wall fixture, with people walking through the space and viewing them. I based the forms off the site - having simplified contours of the terrain cutting out a rectangular block - then cut a cylindrical block out the middle to form the core, and also a skylight. The space intially was very long so lots of tweaking and shortening was necessary. The central space reminded me of the Gungenheim Museum, which is one of the precidents I looked at and had the walls along the spiral ramp house the archive collection, in the same way as the Seed Cathedral.
Retreat - Reflection | Research
Post Mid-Semester Review | Reflection
The function of the archive, was one that evolved slowly. Initially, my idea involved a sound and media archive/gallery that housed the musical collection of the Australian Music Centre Library and the National Film and Sound Archive’s moving images collection of over 200,000 items. The audio visual collection ranges from contemporary classical and jazz music to sound art, film and improvised music. In it’s later stages, the plan was to expand and curate the collection towards music within the 60bpm range. Extensive research have shown that music around the 60bpm range have had a positive impact in stress and aided in focus. As the Sound & Media Archive is essentially a part of the Collac Sound and Music Retreat the facility will become a part of the retreat program where sound and music is/becomes an integral part of the program. I looked at a similar project by a student from the Yale School of Architecture called “Re-storing Public Possessions” but ultimately decided that an archive that only housed a catalogue of music would not appeal to the public so much that it would encourage individuals to travel all the way out to Collac to visit. In short, this idea, in my opinion, was not a feasible long term off-season program.
Appen
Research P
ndix 1
Precedents
Appendix 1.1 | Research | Amphitheatres Precedent Precedents
Amphitheaters built over Quarrys Other than the most obvious Dalhalla amphitheatre, I also found a second precedent named “Stone Nest Amphitheatre” it is similarly designed over a quarry. It’s a miniature version of a quarry-turned-amphitheater. An outdoor amphitheater built into the landscape, it’s ituated in a small-sized stone pit in Wujiatuan Village in the city of Weihai, China. Looking at it visually there are quite some similarities between the Stone Nest Amphitheatre and dDalhalla in terms of the overall form and feel. The main thing to note is that the main reason behind the Stone Nest’s breif is that there were many stone pits that have been closed over the years due to the state paying more attention to environmental protection. This was one of them. But the the focus of the design isn’t really to do with acoustic quality but more just to re-purpose an abandoned stone pit and activate it by turning it into a public space. I like how it integrates with the landscape, and keeps the stone face untouched. Perhaps that can be done with our Colac Quarry site.
Appendix 1.1 | Research | Theatre Seating Precedents
Theatre Planning Precidents
Camelot Theatre
Opera Baltycka
Walt Disney Concert Hall - Frank Ghery
Elbphilharmonie | Herzog & de Meuron
Appendix 1.1 | Research | Theatre Seating Precedents Precedents
Elbphilharmonie | Herzog & de Meuron - Hamburg, Germany Chamber Music Hall
Appendix 1.1 | Research | Theatre Seating Precedents Precedents
Elbphilharmonie | Herzog & de Meuron - Hamburg, Germany Main Music Hall
Appendix 1.1 | Research | Theatre Seating Precedents Amphitheatre over the water
Sidney Myer Music Bowl
Appendix 1.1 | Research | Museum Precedents
Appendix 1.1 | Research | Museum Precedents
Solomon R. Guggenheim Museum - Frank Lloyed Wright
Appendix 1.2 | Research | Timber Shell Structure Research Precedents
Appendix 1.2 | Research | Timber Shell Structure Research Precedents
Appendix 1.2 | Research | Timber Shell Structure Research Precedents
Appendix 1.3 | Research | Materiality
Research | Acoustic Shell Materiality (Internal) “White Skin” @ the Grand Hall, Elbphilharmonie Architect: Herzog & de Meuron Engineer: Yasuhisa Toyota Industrial Manufacturer: Hasenkopf Material: Gypsum Fibre Concrete (GIFAtec)
• Has a requisite thickness & a precisely definable surface structure that is the same throughout the Hall. • Material density: 1500kg/m3 • Extremely solid + non-flammable • Up to 5 panels to be glued together to achieve 180mm thickness • Around 40,000 raw panels with different thicknesses & dimensions • Had to take into account installation so back of panels were milled to fit screws & fittings to be mounted on.
• CNC milled plaster fibreboards.
https://www.elbphilharmonie.de/en/mediathek/the-acoustics-at-the-elbphilharmonie/221 https://www.hasenkopf.de/en/projects/elbphilharmonie-hamburg
Inflatable Skin @ Soundforms Architect: Flanagan Lawrence Acoustic Engineer: Arup Acoustics Fabric Engineer: Architen with Tensys Manufacturing & Fabrication : Total Solutions & ESGroup Material: External fabric - white PVC coated polyester; Internal fabric - joelastic white fabric
• Esternal - Inflatable skin, designed to reduce the weight of the aluminium truss system which supports it. • Suspended off the structure are a series of timber acoustic panels that provide the acoustic support for the performers. • The external fabric skin membrane was made out of white PVC coated polyester and internally the fabric was black to prevent reflection, the roof system comprised of several timber acoustic baffles. The inner cheeks of the structure (which form the sides of the shell) were made out of joelastic white fabric with a slight shimmer to it. • TIMBER ACOUSTIC BAFFES
https://www.flanaganlawrence.com/soundforms
https://www.architen.com/projects/soundforms/#:~:text=The%20inner%20cheeks%20of%20the,Malcom%20
Total Area: 7,544
Sound + Music Archive Programme Breakdown
Storage Facility (Listening booths within) : - Sheet Music (160 m2) - 100,000 (aim) - 1 booth - CD (550 m2) - 2,100 CDs (current) - 10,000 (aim) - 2 booths - Casset (100 m2) - 3,500 cassette tapes - 100,000 (aim) - 1 booth - LP (184 m2) - 130 LPs. - 100,000 - 1 booth - Film (550 m2) x2 - 143,821 Safety film - 10,399 Nitrate film - 2 booths - VCR (300 m2) - 97,621 Video tape - 2 booths - Equipment/Misc (200 m2) x2 Viewing : - Listening booths (50 m2) x3 - Theatre (400 m2) - Screening Rooms (50 m2) x3 - Reading room (300 m2) - Reading room (50 m2) - Gallery space (400 m2) x3 Support/BOH : - MEP (1200 m2) - Server (200 m2) - Loading (200 m2) - Admin Offices (300 m2) Public : - Toilets (200 m2) - Entry (200 m2) x2 - Shuttle Pick-up/Drop-off (100 m2) - Parking (4,000 m2) - Verandah/Outdoor picnic Area (100 m2)
Fil 550
Reading Rooms 300 m2
Equipment/Misc. 200 m2
Gallery Space 1 400 m2
Film 550 m2
Entry 1 200 m2
VCR 300 m2
Theatre 400 m2
BOH Storage Facilities
Server 200 m2
Viewing MEP 1200 m2
Support/BOH
Loading 200 m2
Public
Admin Office 300 m2
lm 0 m2
Equipment/Misc. 200 m2 Gallery Space 400 m2 Listening Booth 50 m2
Toilets 200 m2 Screening Rm. 50 m2
Screening Rm. 50 m2
Screening Rm. 50 m2
LP 184 m2
CD 550 m2
Listening Booth 50 m2
Sheet Music 160 m2 Casset 100 m2
Reading Room 50 m2
Listening Booth 50 m2
Gallery Space 400 m2
Parking 4,000 m2
Entry 200 m2
Retreat precedents
Penninsula Hot Springs - Mornington Peninsula “Retreat” precedents
As I was doing research into the masterplanning of the retreat area of my program, the Mornington Penninsula hotspring masterplan was one which i reffered to heavily in the intial plannig stage. The main reason why this location was chosen was because it was the main, and largest ‘retreat’ within Victoria. I wanted to refer to a precident that was located within the same climate as where our site was and Mornington was, after looking at other ‘retreat’-styled location, the most relavant of them all. From analyzing the masterplanning it was clear to me that the idea behind Penninsula Hotspring’s planning was for the visitors to be experiencing a journey, stopping at different ‘destinations’ before coming back to the starting point in the form of a loop. The ‘destinations’ are sort of clusters of buildings with specific activities to do in that space. Each ‘destination’ is supposed to have its own little ‘moments’ that translates quite well in photographs. For my own planning, i believe that probably employing that same ‘journey with destinations in between’ style of resort plannin would work well with my idea/concept of a sound and music retreat.
Brief 2- The Quarry Phase 01 (Week 5.1)
Sound Retreat + museum archive A place to be immersed in music, for archive and re-imagine experiencing/visualizing music. To escape into music.
Main stage: FOH • Carpark • Information centre • Drop-off zone • Ticket booth • Entrance • Festival Space • Retail area • F&B • Toilets • Acessible amenities • Staff toilets • Audience area BOH • Loading bay • Green room • Control room • Waiting ‘wings’ • Rehersal space • Manager office • Press hall • Lounge Staff • Entrance (to site) • Accomodation • Toilets • Parking
Off-season program brief: Museum • Exhibition space (sound as art) 2-3 gallery space • Gift Shop • Information centre/reception • Sound library archive (different ways of archiving music - Vinyls, cassette tapes) • Cafe • Toilets • Acessible amenities • Staff toilets Retreat • Reception • Breakout rooms/individual listening pods /relaxation rooms (genre based) • Restaurant • Cafe/bar • Indoor function space • Outdoor function space (picnic space, place to move • Outdoor wellness space (exercise/yoga) • Indoor/outdoor cinema/movie room • Carpark Accomodation areas • Individual (capsules) • Couples • Families • Glamping? • Amphitheatre viewing terrace • Toilets • Accessible amenities Staff • Accomodation • Toilets • Parking
Retreat Programme Breakdown
Accomodation Facilities BOH
Retreat Accomodation (112 rooms total) : - Rooms (Main Building) x63 (4,851m2) - 77 sqm - 2 adults 1 child or 3 adults - Suites (Main Building) x 11 (946 m2) - 86 sqm - 2 adults 1 child or child - 1 Bedroom Villas (Grounds) x 19 (2,527 m2) -133 sqm - 2 adults 1 child or 3 adults - 2 Bedroom Villas (Grounds) x 19 (3,534 m2) -186 sqm - 2 adults 1 child or 4 adults Dining : - Restaurant x2 Restaurant Kitchen x2 - Bar - Bar Kitchen - Cafe - Cafe Kitchen Facilities : - Entry - Mezzanine (300 m2) - Reception (200 m2) - Lounge (500 m2) - Indoor Wellness Centre (5,000m2) - Outdoor Picnic Area (500 m2) BOH : - MEP (1,200 m2) - Server (200 m2) - Loading Dock (500 m2) - Admin office (300 m2) - Staff break rooms (300 m2) - Staff cafeteria (300 m2) - Housekeeping (200 m2) - Housekeeping (400 m2) - Service Dock (500 m2)
Dining
Villa (1 bed) 2,527 m2
Indoor wellness Centre 5,000 m2 Restaurant
Villa (1 bed) 3,534 m2
Restaurant Kitchen
Rooms 1,617 m2 Rooms 1,617 m2 Rooms 1,617 m2
Housekeeping 200 m2
Service Dock 500 m2
MEP 1,200 m2
Suites 473 m2
Server 200 m2
Suites 473 m2 Restaurant Kitchen
Café Kitchen
Housekeeping 400 m2
Staff Break 300 m2
Staff Cafeteria 300 m2 Storage
Restaurant Café Outdoor Picnic Area 500 m2
Lounge 500 m2
Reception 200 m2
Trail Walk
Loading Dock 500 m2
Bar
Admin Office 300 m2
Sound/Music Archive
Mezzanine 300 m2 Entry Public Parking
Music Festival Venue Programme Breakdown
Services (FOH)
Public Facilities (F Administration Performer Zone
Performer Zone : - Backstage (Red zone) - Crossover - Workshop - Uni-sex WC - Dressing x3 - Laundry/Shower - Green Room - Rehearsal Room - Dance Studio - Stage Support - Performer Support - Control - Box Boom - Costume storage - Stage Store - Scene Doc - Theatre loading dock Stage + Audience Area : - Stagehouse (Acting Area) - Prompt wing - Opposite Prompt (OP) wing - Forestage - Orchestra pit - Auditorium (seating) - Box Office - Control room - Lawn Area Services (FOH) : - Functions room (Meet & greet/press area) x2 - Functions kitchen - CafĂŠ - Cafe Kitchen - Service doc
Stage /Audience
Public Facilities (FOH) : - Entry - Bag check/Ticketing Area - Bar - Merchandise - Toilets x2 - Arrival/drop-off area - Shuttle drop-off area - Public Parking - First-aid - F&B Administration : - Administration Office - FOH Admin - Box Office/Ticketing booth
Laundry/Shower Workshop
WC Dressing Dressing Dressing
Theatre Loading Dock
WC
Backstage (Red zone)
Crossover
FOH)
Rehearsal
Performer Support Stage Support
Scene Dock Opposite Prompt (OP) Wing
e
Stagehouse (Acting Area)
Prompt Wing
Stage Store
Control room
Forestage
Rehearsal Room
Green Room
Orchestra pit Dance Studio
Administration Office
Box Office
Audience Seating
Functions room
Functions room
FOH Admin Box Office/ Ticketing Booth
Functions kitchen Control room
Service Dock Café Kitchen
Costume Storage
Toilets
Toilets
Café
Bar
Lawn Area (Seating) First-aid
F&B
Bar Toilets Merchandise
F&B
Merchandise
Bag Check/Ticketing Area Public Parking Shuttle Drop-off Area
Arrival/Drop-off Area Entry
Box Boom
Appen
Studio Fe
ndix 2
eedback
W11.1| Tutorial Feedback
Mikey Feedback Acoustic Shell • Detail the walls and doors. • Stage – need a ramp for large instruments etc. Ramps central – one right in the middle @ back of stage. Think about large stage sets. Can just say its not for those. • Orchestra pit – just keep it flat. Have it fully accessible. (People can still stand in that area) • Removable seats. - Seat storage. (under stage or seating?) • Perfectly fine space that’s for the performers (at the back behind the stage, marked out by Mikey) • Have all the rooms lead out to the back corridor too. Retreat • show the plan of one villa retreat – can be designed for extravagance. • Programming and brief is more important - don’t worry about the pragmatic stuff – so can be a large space for retreat, fits 6 people, like Peter Zumthor’s spa. • If I’m going to go all the way out there for a retreat it better be good/extravagant. • Can be a resort block like a spa? • Each area that marked out by OG retreat planning can just be one unit. Look back at the resort you looked at and reference the larger unit plan. • No need to detail every single one of the units. Draw them in plan @ 1:100 Museum • Move the loading bay underground, all good cuz you can’t see it anyway. • Extend archive area underground too. • Roof structure can also extend underground in that sense. • Have the roof structure adapted to Peter Zumthor winery plan so it funnels light intentionally within space rather than just a large square skylight on the top. • Resolve the roof and auditorium connection – can be a block, and light filtering in the top. • Also resolve the column structures – like Shigeru Ban Pompiou? • Be more bold with the roof structure language.
Sophia Feedback Internal External shell structural relationship • Why a huge shell but a tiny optimized shell • The two shells don’t speak the same language, So why not make it movable? • The external shell and internal shell does not speak the same language. So, why not make them detachable and can be used across the site at different points? Can be many other festivals where you can utilize the acoustic shell across the site. Temp acoustic shell elsewehrer on the site. That can be reason enough for the different forms. • Option 2: Optimized shell can have the same architectural language as the external form (Wave?) • Option 3: Optimized shell can be main part of external shell here (middle) and is supported by the main larger shell structure. External shell can support the internal shell structurally. • Option 4: Optimized shell can extend to suit external shell? Made optimization so why not extend the optimized shell to suit external shell? Huge cantilever of external shell form. Tail of external shell • Needs to be resolved structurally, no support at the end and so is just flying atm. Diagrid Structure • Alucobondfor the roof structure instead of aluminum? Dense triple layer – aluminum, weatherproofing, alucobond. • Remove smaller grid shell – cover structural shell w plywood panels (12mm) then alucobondon top. Or, structural shell, plywood, weatherproofing, alucobond. • Option 2: Teflon material, structural gridshell, plywood panels, weatherproofing alucobond. • Having a translucent fabric material can allow the structural diagrid to be visible and also act as a lighting structure – can have different parts be white light, other parts can be coloured light etc. • The translucent fabric material will also remove these pockets where sound will echo. For Thursday: • Think about and decide on internal/external structural relationship – why? • Flying carpet structure • Material – fabric? What fabric? • Optimization (optimized form) • Lighting • Need a 1.20 section so can have an understanding of the problems and detail • Connection to the ground? • Section of the shell? What happens when there is the last bit of the shell? Arch? Point in which you have the external material and the internal translucent material.
Appen
BREIF 1: Researc
ndix 3
ch & Prototyping
Week 1 - Observing Music
Research | Elements of Music Time - Tempo (Fast/Slow) - Length of Notes (Long and drawn out? Fast and articulated?) - Rhythmic Patterns / Syncopation Melody - Sequence of primary notes being played - Contour/Direction (Shape of the Melody - Rise /Falls) - Patterns (Riffs / Sequences / Themes / Motifs) - Modulation (Key Changes) - Ornamentation (Trills, or Pitch Bends) Harmony - Tonality + Chords (Major, Minor, Triadic, 7th, 9th etc.) - Tension / Resolution + Consonance / Dissonance - Atonality (To not have a tone) - Counter-Melody & Accompaniment Styles - Ostinato, Walking Base Lines Structure* - Form of the Piece (e.g. Minuete Fance, 12 Bar Blues, Verse + Chorus) - Repetition, Development & Sequencing - Queues from genre * Not important for small song samples Texture - How the Tempo, Melody and Harmonies are combines - Technical Terms: - Monophonic (Single Voice) - Homophonic (Melody + Accompaniment) - Polyphonic (Multi-Melody) - Collage (Juxtaposition & superimposition of extremely different textures or sounds) - Heterophony (“mixed” or multiple similar versions of a melody performed simultaneously (rare in European music; possibly used in Ancient Greece) - Ochestration (Number of instruments / tracks etc.) - Mixing (Reverb, Delay, Pedal Effects) - Musical Voicing (Soprano / Tenor / Bass) - Does it sound ‘Thick’ / ‘Thin’, ‘Broad’ / ‘Dense’, ‘High’ / ‘Low’ Tone & Timbre - The ‘Texture’ of a single instrument - and how it’s being played - Quality of the Sound (E.g. Distorted vs Acoustic Guitar) - ‘Attack’ of the notes (Glides, Resonation, Reverberation from instrument) - Frequency / Amplitude Modulation (Vibrato - change in pitch or Tremelo - change in volume) Expression / Dynamics - Changes in volume of notes / phrases - Accents and Articulation
Song 1 Analysis “Hello Dolly” - Louis Armstrong
https://www.youtube.com/watch?v=l7N2wssse14 Time: 1.29 - 1.59 Style: Jazz Funk (1960s) Orchestration: Trumpet, Trombone, Double bass, Piano, Drums, Clarinet, Vocal Notes:
- Overall tempo of the piece is fast paced, notes are articulated on the upbeat - Ascending upbeats in the syncopation mainly by trumpet and trombone in main melody, all other instruments keep a steady beat contributing to rhythm & harmony of song. - Dynamic melody with lots of modulation, typical to Jazz style. Melody ornamented through trills by main trumpeter and trombone. - Counter-melody between trumpet and trombone, sometimes piano. Double bass keeps steady sequence & baseline beat. - Polymorphic ‘texture’ between trumpet and trombone, collage between trumpet + trombone and rest of ensemble. - Tone and texture of trumpet raspy, broad yet high sounding. Thick and dense for vocals. - Unprepared modulation with both vibrato & Tremelo. - Trumpet & Vocal sounds raspy, yet soulful and warm - very unique tones to Louis Armstrong.
Time - Tempo: Fast paced (burning), notes are fast and articulated on the upbeat - Syncopation: accenting upbeats (when notes are emphasized on the upbeat) (On Trumpet and - Trombone near the end.) - All other instruments contribute to rhythm & harmony of song. - Steady beat Melody (mainly Trumpet & Trombone) - Melody rises and falls according to syncopation of Trumpeter & Trombone player, very dynamic - Patterns (Riffs): Swing - Modulation: Lots of modulation, typical to jazz. Especially by Trumpet and Trombone (Unpre- pared/Direct modulation?) - Ornamentation: Trills by main Trumpeter (syncopation) Harmony (By Trombone) - Jazz tones/Chords? Keeps the tension - Counter-Melody by double bass for baselines (chords) steady sequence and beat - Counter melody between trumpet and trombone, and sometimes piano. Texture - Polyphonic (between Trumpet and Trombone) - Collage (Overall) - Orchestration - Tenor? - Thick and Dense sounding for vocals; Thick, broad and high sounding for Trumpet. Tone & Timbre - Texture of trumpet bright, raspy, broad, brassy.. - Quality of sound: Metallic? - Attack of notes: Reverb from instrument present - Frequency/Amplitude Modulation: Unprepared modulation (Vibrato & Tremelo) Expression / Dynamics - Trumpet & Vocal sounds raspy, yet soulful and warm - very unique tones to Louis Armstrong. - Tones & syncopation unique to Louis Armstrong.
Song 2 Analysis “Kaze no Torimichi” - Joe Hisaishi
https://www.youtube.com/watch?v=FQx4cEwKD5E Time: 3.25 - 4.00 Style: Sonata Orchestration: Piano and Cello Notes:
- Repeated motifs with change of octaves in both instruments drive the emotionality of piece. - Main melody by cello, counter-Melody by piano, starts off dark and intense, piano punctuates/ drives home tension, then accompanies the melody lifting the tension. - Length of notes: drawn out by cello, fast and articulated by piano., Then both drawn out in later half. - Starts off polyphonic between cello and piano then becomes heterophonic.(Tempo of piano punc- tuates melody of cello in the beginning, then accompanies the melody of cello later) - Combination and vibrato and tremolo, from both instruments, mainly by piano, driven by mood. - Reverb from both instruments. - Hisaishi uses change of octaves in a repetitive rhythm to achieve emotionality.
Time - Tempo: Slow, steady tempo, pacing changes according to shift in mood. - Length of notes: drawn out by cello, fast and articulated by piano. Melody (by cello) - Melody flows, rising and falling according to shift in mood - Starts off intense and dark, then shifts to soft and light. Modulation (change of octaves) reflects emotionality of piece. - Ornamentation by piano. Harmony (by piano) - Tonality? Dark tone, keeps tension in the beginning, then becomes light. - Counter-Melody by piano, starts off dark and intense, piano punctuates/drives home tension, then accompanies the melody lifting the tension. Texture - Starts off polyphonic between cello and piano then becomes heterophony. - Sounds ‘thick’ and ‘broad’ by cello and piano. Smooth and whimsical feel. - Used of pedals on piano and reverb through tremolo from both instruments. Tone & Timbre - ‘Texture’ of both instruments are smooth - Combination and vibrato and tremolo, from both instruments, mainly by piano, driven by mood - Timbre: pure & whimsical. Colourful piece. Expression / Dynamics - Hisaishi generally has a repetitive motif throughout orchestra. Repetitive rhythm is accented with change of instruments - in this case octaves - to achieve emotionality and reflect the personality of the characters in the film. - Colourful orchestration.
Song 3 Analysis “Back in Black” - AC/DC
https://www.youtube.com/watch?v=pAgnJDJN4VA Time: 0.00 - 0.30 Style: Rock and Metal Orchestration: Guitar, Drums, Bass, Vocals Notes:
- Slow tempo with a combination of fast, articulated notes and long, drawn out notes. - Mixture of syncopated and “straight” rhythms. - Vocal is in double time to the beat of the song. - Booming 3 chord riff slowly builds tension. - Homophonic - thick and dense sounding at the riff then high and thin along the lick. - Music voicing is high, typical metal-style often described as “gargling with rusty nails”. - Song is kept as steady as possible, with almost no overdubs except the lead guitar, typical to, AC/ DC’s style.
Time - Tempo: Slow with a combination of fast and articulated and long, drawn out notes. - Mixture of syncopated and “straight” rhythms. Melody - Mixture of syncopated and “straight” rhythms. - Booming 3 chord riff followed by a modulation in the lick - Rhythm is unusual for a rock song. Vocal is in double time to the beat of the song. - Shape of melody moves up and down according to riff and lick. - Slowly builds tension. Harmony - Power chords (E/D/A) in guitar slowly builds tension. - Accompanied by walking baseline in background. Texture - Homophonic, Initially sounds thick/dense then thin & high at the lick and back. - Music voicing is high, typical metal-style often described as “gargling with rusty nails”. - Pedal effects? Tone & Timbre - Quality of sound: Distorted - Rhythm guitar has a long reverb, lead guitar has a short double. - Lots of amplitude modulation. Progressively rises in amplitude. Expression / Dynamics - Song is kept as pure as possible with almost no overdubs except the lead guitar, typical to, AC/ DC’s style. -“That monumental, tank-like riff booming like a giant robot lumbering towards you across a dark, lightning-forked horizon. That voice, like Godzilla gargling with rusty nails. Those drums, like ham- mers pounding into your frontal lobe.”
Brief 1- Dependencies [Research & Prototyping]
Week 1
Photographs of Physical Geometry Iterations
Geometry 01.
Geometry 02.
“Hello Dolly” - Louis Armstrong Time: 1.29 - 1.59
Amplified, rounder sounding, more balanced overall. Melody is clearer. Has more body vs raw listening. The lower notes are now clearer.
Melody sounds less sharp, deeper notes are more amplified. Counter-melody between trumpet & trombone more pronounced. Bass is clearer & now stands out along melody.
“Kaze no Torimichi” - Joe Hisaishi Time: 3:25-4:00
Some reverb, not great. Piano melody stands out more than the cello. Cello sounds sharper but has no body.
Not as sharp sounding. Cello still sounds muted in comparison to piano. Higher notes are clearer than lower ones. The low notes are muted.
“Back in Black” - AC/DC Time: 0.00 - 0.30
More amplified. Guitar riff sounds clearer. Balanced with drums. Vocals no longer muffled nor fighting with guitar. Guitar riff and bass now much more balanced compared to raw.
Guitar riffs are clearer especially the lick. Vocals are more balanced against guitar. Bass slightly more balanced but still overpowered by high notes onguitar.
Songs
Geometry 03.
Geometry 04.
Geometry 05.
More amplified, more reverb. Melody sounds more balanced. Base is more balanced & no longer ovrpowered by trumpet.
Amplified & sharper sounding. Melody is clearer. Trumpet tones sound more metalic Base sounds soft and uninteresting.
The lower notes are much more balanced. Melody is clear and amplified. Trumpet tones not as metalic. Quite well balanced for Jazz music.
Thin sounding overall. Higher notes sound sharp. Cello is clearer than piano. Piano sounds soft in comparison. Low notes seem to be muffled.
Amplified but not much difference in quality. No difference in bass or melody.
Sound quality more reminiscent of a live performance. Piano notes are clearer and balanced. Cello notes more balanced out. Low notes are given more body.
Muffled overall but slightly louder. Guitar sounds dampered & not as ‘sharp’. Vocals are louder but flat. Cymbals on drums are clearer. Bass sounds muted.
Amplified. Sounds fuller overall. Perhaps the “wall” at the end similar to how the subwoofer of a speaker works. Guitar is balanced but cymbals are sharp. Bass notes are more balanced than raw listening.
A bit more body but otherwise not much difference.
Geometry 06.
Geometry 07.
Geometry 08.
Amplified. Notes sound flatter and higher. Likely due to reverb of thin material upwards. Trumpet notes sounds sharper. Base notes sound higher.
Much more reverb. Almost a muffled echo. Melody is balanced. Trumpet melody stand out much more. Lower notes sound muted.
Surprisingly amplifies overall music. Melody sounds fuller than raw listening. Base is still much more muted than melody. Not balanced.
Muddy. Notes sound flat, no body. Not much difference. Cello sounds flat, piano sounds overpowered by cello.
More balanced overall. Reverb makes cello sound fuller. Melody between cello and piano more balanced. Lower notes by cello are clearer and fuller sounding.
Reverb, reflects and amplifies piano melody. Piano melody is clearer. No difference in cello melody. Not much difference in bass.
Not much difference overall. Guitar notes are clearer but bass is nonexistant. Base is gone.
Cymbals are sharper. Overall sounds more contained. Melody sounds flat. Guitar no longer has body to it.Can’t really hear the bass notes.
Drums are more pronounced. Chords sound more balanced. Guitar sounds much better than raw. Power chord is clear. Bass is still overwhelmed though.
Geometry 09.
Geometry 10.
No difference.
Slight reverb otherwise no difference.
No difference.
Cello sounds are reflected back. But otherwise no noticable difference.
No difference.
Sounds slightly more contained but otherwise still not balanced.
Geometry 11.
Geometry 12.
Geometry 13.
Overall sound slightly more uneven. Otherwise no difference.
Sound quality slightly better. Sharp tone of trumpet slightly muffled. Otherwise, not much difference.
More reverb and slight echo. Not much difference in melody. Bass still unbalanced but is slightly clearer.
No difference.
No difference.
Some reverb. Otherwise isnt much difference.
No difference.
Power chords sounds clearer but everything else unbalanced.
More contained but all you hear is the main melody. Not much difference and still unbalanced.
Brief 1- Dependencies [Research & Prototyping]
Week 2
Lighting Tests
Geometry 01.
Geometry 02.
- Light is contained within the model along the sides. Has a sharp shadow edge. Sound will be reflected off these edges.
- Light is being trapped within the model. Edges of opening have a sharper shadow than Test 01.
- Light goes everywhere on the top. Likely because the top of the triangle is short. Sound waves are lost.
- Light does not seem to reach the extended edge of the top.
Geometry 03.
Geometry 04.
Geometry 05.
- Light is being trapped in the middle and dispersed below the model.
- Light is being trapped inside the model, however is bouncing straight out.
- Light is being reflected forward, toward the openiing. Overall range looks to be quite evenly contained and directed forward.
- Interesting results mainly because I did not expect the light to be ‘trapped’. - Light spilling out of the bottom is dispersing everywhere. Likely why there did not seem to be much of a difference listening to it with and without the models.
- There is a sharp shadow along the bottom of the model but light bounces upwards due to the angle of the sides. Which would likely translate to sound being lost upwards. Hence why there didnt seem much difference when listening.
- Shadow edges along the bottom looks quite wide suggesting the range of sound being projected/reflected forward to be quite broad.
Geometry 06.
Geometry 07.
Geometry 08.
- Light is not being contained and thus going everywhere.
- Very precise directing of light forward.
- Some form of a shadow at the bottom but is generally being lost upwards.
- Sharp shadows along the edges towards the opening.
- Light not being contained whatsoever. Only part where it is bouncing off would be the back and edges. However not in the right direction.
- Sound is being loss upwards. Curve of the top of triangle is too far back. Sound loss there due to no surfaces to bounce off. - Interesting because there didn’t seem much difference when listening.
Geometry 09.
Geometry 10.
- There is a radius of light being dispersed at the bottom of the model however I believe it is likely more due to the presence of the phone being there than the actual model.
- Shadow is present along the edge, with quite a wide radius however light is still being lost everywhere due to the there being no covering at the top.
- Upper-most part of the model is again curved too far back. Light is lost upward.
Geometry 11.
Geometry 12.
Geometry 13.
- Sharp shadow around the edges of the model.
- Light being completely trapped inside the model and projecting downwards.
- Sharp shadows along the edges with a decent radius.
- Light is being trapped and bounced around within the model. - However, I don’t believe it is being amplified/projected outwards making it unlikely to work as an acoustic shell.
- Loss of sound due to two ends. - Interesting shadows along the bottom. Might work if it was angled perhaps more like a half-sphere?
- Could potentially test the pattern of the folds with a half-sphere or inside a different form to visualize ray-tracing.
Geometries to explore furthur Based off the initial tests, I believe these three geometries have the most potential and thus would like to test them.
Geometry 02.
Geometry 05.
Geometry 07.
GEOMETRY 05
• Chosen because the sound quality and amplification from this model was clearest amongst all others. • After looking at light experiment, it was claer why. The form of the model allowed light to be funnelled and bounced back towards the phone. • This would mean the same thing via sound waves.
HYPOTHESIS: This model was the best performing out of all. I believe that it has more body because sound is being concentrated slightly vs being dispersed (as seen in light tests). My hypothesis is that altering the angle of the sides and top will disperse sound across a wider distance, improving SPL, but might reduce sound quality.
ITERATIONS OF G05
ITERATIONS OF G05 | G05.01 Sides angled out 15 degrees.
ITERATIONS OF G05 | G05.02 Sides and top angled outwards 15 degrees.
FINDINGS - As predicted with the physical model, the sound pressure level distribution is more even. Sound pressure reaches almost to the end of the audience area. - From the analysis based off different points, it seems that the best performing SPLs tend to be when the eminating points are closer to the back and sides of the shell. The sounds bounce off the shell and travels further. - FINDINGS FROM RAY TRACE? - From these results i’d like to experiment withaltering the angles of the sides and top to see how they affect the SPL.
ITERATIONS OF G05 | G05.03 Only top angled outwards 15 degrees.
ANALYSIS | SPL AMONG AUDIENCE WITHOUT SHELL
SPL DISTRIBUTION WITHOUT SHELL SPL (Std Dev): 4.6980
SOUND PRESSURE ANALYSIS | G05 Sides angled out 15 degrees.
SPL DISTRIBUTION FOR G05 SPL (Std Dev): 4.5318
SPL ANALYSIS | G05.0
SPL ANALYSIS | G05.0
SPL ANALYSIS | G05.03
SPL DISTRIBUTION FOR G05.02 SPL (Std Dev): 3.9937
SPL DISTRIBUTION FOR G05.03 SPL (Std Dev): 4.5002
RAY TRACE ANIMATION | G05
RAY TRACE ANIMATION | G05.
RAY TRACE ANIMATION | G05.0
RAY TRACE ANIMATION | G05.03
AURAL TESTS | G05.01vs G05.02 vs G05.03
G05.01 Sides moved out
• Much louder but sound quality decreased substantially. • Sharpness of trumpet is back. • Sound seems to be very concentrated directly back towards me (listener). Feel it more on the sides of my ear? • Sharpness of trumpet overpowers all other instruments, to an almost painful level - attack too strong • Kind of sounds as if I were standing in front of the trumpet player as he plays.
G05.02 Sides and top moved out
• Sound seems to be disp rather than just straight f easier on my ears. • Less direct amplification quality has improved. • Melody (trumpet) still sli instruments but defy mor • Rest of instruments are a • Attack still quite strong, s like.
persed a bit more evenly full on frontal. Makes it a bit
n than g05.01 but sound
ightly louder than rest of the re balanced. amplified and can be heard. stronger than I would’ve
G05.03 Top moved out
• Not as amplified as previous two. Sound seems to be lost somewhere • Trumpet sharpness & attack is significantly reduced, more balanced, trumpet melody no longer overpowers. • Notes seem to sound lower? • Bass and other instruments now are balanced with trumpet. • Somehow sounds more reminiscent of a live performance
GEOMETRY 02
• Chosen because despite not sounding ideal, light tests seemed to show that it had potential. • The sharp edges of the shadow following the corners of the opening suggested that the form reflects and funnels sound (in this case light) outwards. This would suggest a more even sound pressure level among the audience.
Hypothesis: I believe that based off the previous tests, this form with it’s overhanging roof structure and overall form will improve amplification & sound quality if I shorten the length of the form and add a backing wall to it.
G02 Original Geometry
Section
Plan
Isometric
G02.01 With a backing
SOUND PRESSURE ANALYSIS | G02
SPL DISTRIBUTION FOR G02 SPL (Std Dev): 4.3052
SOUND PRESSURE ANALYSIS | G02.01 with a backboard.
SPL DISTRIBUTION FOR G02.01 SPL (Std Dev): 4.2442
RAY TRACE ANIMATION | G02
RAY TRACE ANIMATION | G02.01
AURAL TESTS | G02 vs G02.01
G02 Sides moved out
• More amplified than paper model. • Trumpet sounds sharper with a stronger attack but very uneven. • Melody overpowers the bass. • Overall uneven.
G02.01 Sides moved out
• More amplified than g01 • Attack isn’t as sharp • Even sound distribution + between the melody and bass • Sounds like a lack of echo? Reverberation? Each note is clear sounding. • Sound seems to be evenly dispersed back to listener.
Future explorations
1. Moving sound positions around in au
• How far away can you move the ph • How does the height of sound origin • Angling the backboard of G02.01?
2. Geometry 07
Geometry 07.
Hy
Based off the light tests, the main issue wit This results in a loss of sound upwards. curved downards instead
ural tests.
hone till you hear no difference in quality? n affect the sound quality?
ypothesis:
th this form is that the top is curved too far back. My hypothesis is that if the curve of the top is d the sound quality will improve.
Appen
Pachyderm O
ndix 4.
Optimizations
Pachyderm Optimizations | Form 1
Appendix | Form 1
Generation 1.1
STANDARD DEVIATION • Source 0 8.264 • Source 1 8.070
STANDARD DEVIATION • Source 0 8.493 • Source 1 7.606
Generation 1.2
STANDARD DEVIATION • Source 0 7.615 • Source 1 7.913
STANDARD DEVIATION • Source 0 7.405 • Source 1 7.488
Generation 38.1
STANDARD DEVIATION • Source 0 6.342 • Source 1 6.662
STANDARD DEVIATION • Source 0 5.657 • Source 1 6.029
Appendix | Form 1
Generation 38.2
STANDARD DEVIATION • Source 0 6.191 • Source 1 6.684
STANDARD DEVIATION • Source 0 6.340 • Source 1 6.632
Generation 57.1
STANDARD DEVIATION • Source 0 6.085 • Source 1 6.671
STANDARD DEVIATION • Source 0 6.267 • Source 1 6.180
Generation 57.2
STANDARD DEVIATION • Source 0 6.190 • Source 1 6.683
STANDARD DEVIATION • Source 0 5.844 • Source 1 6.607
Appendix | Form 1
Generation 84.1
STANDARD DEVIATION • Source 0 6.452 • Source 1 6.807
STANDARD DEVIATION • Source 0 5.823 • Source 1 6.503
Generation 107.1
STANDARD DEVIATION • Source 0 6.427 • Source 1 6.271
STANDARD DEVIATION • Source 0 5.914 • Source 1 6.627
Generation 121.1
STANDARD DEVIATION • Source 0 6.397 • Source 1 6.679
STANDARD DEVIATION • Source 0 6.317 • Source 1 6.508
Appendix | Form 1
Generation 136.1
STANDARD DEVIATION • Source 0 5.652 • Source 1 6.704
STANDARD DEVIATION • Source 0 6.365 • Source 1 6.121
Generation 152.1
STANDARD DEVIATION • Source 0 5.991 • Source 1 6.570
STANDARD DEVIATION • Source 0 6.357 • Source 1 6.395
Generation 152.2
STANDARD DEVIATION • Source 0 6.065 • Source 1 6.584
STANDARD DEVIATION • Source 0 6.017 • Source 1 6.787
Appendix | Pachyderm Optimizations Form 2
Pachyderm Optimizations | Form 2
Appendix | Form 2
Generation 19.1
Front Profile Height Front Profile Width
STANDARD DEVIATION • Source 0 65.590 • Source 1 5.041
Front Edge Height Middle Point Height Back Profile Depth Back Profile Scale
Generation 19.2
Front Profile Height Front Profile Width
STANDARD DEVIATION • Source 0 6.011 • Source 1 4.860
Front Edge Height Middle Point Height Back Profile Depth Back Profile Scale
Generation 26
Front Profile Height Front Profile Width Front Edge Height Middle Point Height Back Profile Depth Back Profile Scale
STANDARD DEVIATION • Source 0 6.526 • Source 1 5.199
Appendix | Form 2
Generation 31
Front Profile Height Front Profile Width Front Edge Height
STANDARD DEVIATION • Source 0 5.222 • Source 1 5.057
Middle Point Height Back Profile Depth Back Profile Scale
Generation 38.1
Front Profile Height Front Profile Width
STANDARD DEVIATION • Source 0 5.866 • Source 1 5.429
Front Edge Height Middle Point Height Back Profile Depth Back Profile Scale
Generation 38.2
Front Profile Height Front Profile Width Front Edge Height Middle Point Height Back Profile Depth Back Profile Scale
STANDARD DEVIATION • Source 0 4.780 • Source 1 4.717
Pachyderm Optimizations | Form 3
Appendix | Form 3
Variables for Optimization Front Profile Width Front Profile Height Middle Point Height Back Profile Scale
Generation 19
Front Profile Width
STANDARD DEVIATION • Source 0 6.492 • Source 1 6.172
Front Profile Height Middle Point Height Back Profile Scale
Generation 22
STANDARD DEVIATION • Source 0 5.473 • Source 1 5.578
Front Profile Width Front Profile Height Middle Point Height Back Profile Scale
Appendix | Form 3
Generation 29
Front Profile Width
STANDARD DEVIATION • Source 0 5.653 • Source 1 5.423
Front Profile Height Middle Point Height Back Profile Scale
Generation 31
STANDARD DEVIATION • Source 0 5.415 • Source 1 5.354
Front Profile Width Front Profile Height Middle Point Height Back Profile Scale
Generation 51
STANDARD DEVIATION • Source 0 5.643 • Source 1 5.433
Front Profile Width Front Profile Height Middle Point Height Back Profile Scale
Appen
Music Festival Ven
ndix 5.
nue Form Iterations
Appendix | Music Festival venue | Mid-Sem Review 2 1 3
4
5
6 9
7
8
10
1 2 3 4 5 6 7 8 9 10 11 12 13
Loading Dock Performer Zone Backstage Stage Orchestra Pit Reserved Seating Control Room Lawn Seating Public WC Ramp Retail Services Access Public Access
10
9
11
Appendix | Music Festival venue | Mid-Sem Review 6
5
3 2
1
7
3
3
4
7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Loading Dock Workshop Dressing Uni-Sex Laundry/Shower Rehersal Green Zone Backstage Stage Orchestra Pitch Reserved Seating Control Room Management Office Conductor/Concertmaster Office Multi-purpose Costume Storage
Appendix | Music Festival venue form Iterations Mid-Sem Review | Performer Space Lower Level
1:200 0
5
10
20
30
Appendix | Music Festival venue | Mid-Sem Review
16 15 15 13 14
12
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Loading Dock Workshop Dressing Uni-Sex Laundry/Shower Rehersal Green Zone Backstage Stage Orchestra Pitch Reserved Seating Control Room Management Office Conductor/Concertmaster Office Multi-purpose Costume Storage
Appendix | Music Festival venue form Iterations Mid-Sem Review | Performer Space Upper Level
1:200 0
5
10
20
30
Appendix | Music Festival venue | Mid-Sem Review
Appendix | Music Festival venue form Iterations
8 11
1:200 0
5
10
20
30
1 2 3 4 5 6 7 8 9 10 11 12 13
4
6
3
Loading Dock Performer Zone Backstage Stage Orchestra Pit Reserved Seating Control Room Lawn Seating Public WC Ramp Retail Services Access Public Access
2
1
Appendix | Music Festival venue | Interim 2
Appendix | Music Festival venue | Interim 2
Appendix | Music Festival venue | Interim 2
Appen Archive Form
ndix 6. m Iterations
Appendix | Archive form Iterations | Mid-Sem Review
7 5 6
4 2
3 8 1
Archive Iterations | Mid Sem Review| GF
8
9
16
17
17
17
18
15 5
15
7
14
6
12
10
13
1
10
11
1 2 3 4 5 6 7 8 9 10
11
Entry Archive Storage Void Services Loading Dock Reception Male WC Female WC Emergency Exit Gallery
11 12 13 14 15 16 17 18 19 20
Multi-purpose Lobby Auditorium Stage Green Zone Performer Zone Dressing Rehersal Workshop Admin Office
1:200 0
5
10
20
30
Appendix | Archive form Iterations | Mid-Sem Review
Archive Iterations | Mid Sem Review | Section
3
5
2 3 2
1 2 3 4 5 6 7 8 9 10
Entry Archive Storage Void Services Loading Dock Reception Male WC Female WC Emergency Exit Gallery
11 12 13 14 15 16 17 18 19 20
Multi-purpose Lobby Auditorium Stage Green Zone Performer Zone Dressing Rehersal Workshop Admin Office
1:200 0
5
10
20
30
Appendix | Archive form Iterations | Interim 2
Appendix | Archive form Iterations | Interim 2
Appendix | Archive form Iterations | Interim 2
Appen
Retreat It
ndix 7.
terations
10
4 9 3 11 4 7 4 5 1
9
2
3
3
8
Retreat | Plan & Section
3
7 4 6
3
12 9
3 12 8
1 2 3 4 5 6 7 8 9 10 11 12
Reception Administration 2 Bedroom Villa 1 Bedroom Villa Cafe Restaurant Housekeeping Lounge Communal Space Indoor Wellness Centre Outdoor Picnic Area Trail Walk
Appen
Sketc
ndix 8.
ches
W7.2 | Sketches
W7.2 | Sketches
W7.2 | Sketches (Studio feedback)
W8.2 | Sketches
Sketches | Acoustic Shell Form
W10.2 | Interim 2