Sonic Responsive Design Session
02
Studio
||
Fall
2014
College of Architecture + Planning || University of Utah
Merate
Barakat || October 20 - December 12
C ontents N arrative : P aradigm : M odus O perandi : A genda : G rading
and
E valuation :
R eferences
and
L inks :
S chedule :
Sonic
Responsive
Design
Session 02 Studio || Fall 2014
College of Architecture + Planning || University of Utah || Merate Barakat
N arrative : “Nobody only sees” Sound is temporal and ephemeral. Sight evolved with the auditory sense, but unlike ears, eyes have lids. Some may argue that in a vacuum, at least, one can detect one’s heartbeat, and even the unborn have an aural awareness1. Neurologically humans use auditory cues to form mental spatial maps of their environment. Unlike the other senses, the auditory cognition is a direct pre-conscious process conducted by frequency-selective organs and cortices2.
Dancing Paint - High Speed Water Photography
This aligns with Davis’ opinion “Perception is never un-mediated”3 and emphasizes that the physical environment cannot only be visually perceived, or only through any one sense for that matter, but collectively. Despite the omnipresence of sound, there have been few attempts in architectural design based on acoustics as a primary sense. Aural design is one of the unexplored, fields in architectural design, excluding acoustic engineering for performance halls. Only recently, researchers are endeavoring to understand how humans physiologically detect sound and investigate shaping the aural signals in spatial design. An architectural design is found to be successful when it manipulates more than one human sense in order to convey a particular narrative. The Sonic Responsive Session Studio is driven by an acoustic design challenge employing open-source digital tools to produce a personal scale aural arena. This studio aims to create a sonic and dynamic object. The design continuously synchronizes the physical space morphology with the acoustics of the space as a dialogue between space and sound; a sculptural ‘choreography.’
John Hayes: Avant Garde: Frozen Sound Art
2 || Sonic Responsive Studio || Fall 2014
1 2 3
Gaunderlach, J. (2007). Sound: Exploring a Character - Defining Feature of Historic Places. APT Bulletin, Vol. 38, No.4, pp. 13-20. BALL, P. (2011) The Music Instinct, How music works and why we can’t do without it, London: Vintage. Davis, W. A. (1978). The act of interpretation: A critique of literary reason.
P aradigm : As a research-based studio that integrates digital aural composition with physical space design. The objective of the studio is to produce a sonic design; whether it be musical, soundscape or tapping into the sound energy generated by a space. The archetype will integrate space design as a musical instrument and the space’s ‘musical’ composition, as one intertwined paradigm. The work progress adopts a transversal procedure and uses technological bridges to concepts found in other disciplines, namely physics, biology, mathematics, music, arts, and musicology. Therein, devising a visual and aural synthetic experiment, in which the perception of sound is closely linked to the morphing topology of a designed surface. A range of brief discourses is incorporated in the syllabus discussing algorithmic architecture, emergence, biomimetics, and their relation to aural design. These introductory discussions are intended to assist students to grasp the basics of the field, by which they will be ready to continue their research-based design. On a technical level, there is a series of challenges to be tackled. The obvious one is the nature of sound. Students will learn the dynamic characteristics of a visually indiscernible design tool. Another matter that necessitates to be undertaken is implementing digital tools and mechanical kinetics concepts. Students will be introduced to electric engineering basics, such as motor fittings and audio transducers, which is vital to transform the surface into a dynamic sonic space.
Pinaree Sanpitak : Anything Can Break
Ronald Van Der Meijs: Sound Architecture IV
Merate Barakat || 3
M odus O perandi : As a research-based studio, the goal is to build on previously gained knowledge. This is the second year for this studio, which adopt a unique overall theme, namely sound in architectural design. Therefore, students will be offered the option to adopt one of the projects researched last year (Session 01 - Fall 2013), learn from the documentation presented by their peers and take the project to the next step. This progressive investigation through contiguity should help the students overcome a significant learning curve. The other option presented is to create a new design, exploring a new concept that has not been previously tested. The group of students wishing to take this path will still be able to learn from the documentation presented last year, to help them technically explore their design.
David Letellier + Lab(au) : TESSEL
Students will be asked to choose any surface (floor, wall, ceiling, or furniture) to design and articulate its topography to create a sonic dynamic and responsive system. Students will be divided into teams of two. The design process will progress in parallel with tutorials and lectures, to keep the creativity processes from stagnating. Students are free to follow any of the following three design approaches: _Introduce _ a foreign sound(s) into the space. _Amplify, _ attenuate, or dampen existing sounds found in the immediate environment. _Harness _ the sound energy Computational tools tutorials will be taught during the first three weeks of studio (See Schedule). On the fourth week, there will be optional advanced tutorials. The computational classes are directed towards kinetic and geometrical design. Students in this session will be taught: _Arduino _ (Firefly for Grasshopper & Processing Library) _Grasshopper _ (in Rhino). _Processing _ (Libraries: Toxiclibs & Minim)
Zimoun :Sound Sculpture : 2000 cardboard elements
4 || Sonic Responsive Studio || Fall 2014
A genda :
T heory L ectures : Week 01 || Oct 20: Sonic Responsive System Design
A brief of ‘Aural Design’ theoretical background and responsive systems in nature. Week 02 || Oct 27: Biomimicry, Fabrication, and Materials What is Biomimicry and how architecture and design can learn from biology. Week 03 || Nov 03: Emergence and Evolutionary Design Introduction to Emergence in Architecture and algorithmic design. A rduino T utorials : Week 01 || Oct 22 & 24: Basics & Sensors _Introduction _ to Arduino _Electric _ Engineering Basics _Inputs _ and outputs _Functions _ _Motors _ _Sensors _ _Light _ and Sound Week 04 || Nov 14: Advanced techniques(Optional) _To _ be tailored for students’ designs P rocessing T utorials : Week 02 || Oct 29 & 30: Basics _Introduction _ to coding and Processing. _What _ are Variables, and how to create and use functions. _What _ is recursive design, loops, and conditional functions. _Introduction _ to Object Oriented design _Installing _ and using libraries to Processing _3D _ environment, Vectors, and GUI (PeasyCam / Toxiclibs / ControlP5) Linking with Arduino with Processing _Arduino _ Library for Processing Week 04 || Nov 10: Advanced Sound Visualization (Optional) _Minim _ Library _Sound _ Visualization, Analysis & Synthesizing sound
AA Alexandria VS : Sandoqu ElMusiqa
Daniel Franke Cedric Kiefer : unnamed soundsculpture
Merate Barakat || 5
G rasshopper 3D T utorials : Week 03 || Nov 05 - 07: Basics _Grasshopper _ 3D interface _Data _ Manipulation , lists and trees _Attractors _ and recursion _Parametric _ Design _Fabrication _ functions _Laser _ cutter file nesting Linking with Arduino with Grasshopper3D _FireFly _ Plug-in for Grasshopper Week 04 || Nov 12: Advanced Algorithmic Design (Optional) _Algorithmic _ design and optimization _Galapagos _ Plug-in _Fitness _ Function _Fractals _ and Voronoi Helioscope : Evan Douglis
W ork P rogress : Week 01 || Brain Storming and Project initialization Students will divide themselves into groups of two, and initiate the early design process. The work process should start by researching precedents and ‘Aural Design‘ concept that will be the basis of the work for the rest of the session Week 02 || Component Design It is crucial to design digital and analogous in tandem, therefor the students will test the system’s component design at different scales. Students’ coding should start reflecting the analogous experimentation. Week 03 || Joint & Kinetic Design Components interact differently at different scales. Students should test how the system’s components will connect and move to 1:1 testing model. Different materials are to be tested (bending / tension / compression). Kinetics requires mechanism design, such as gears and pistons. By the end of this week, the students should have a good idea what the system fabrication process will require (material, machine time, fabrication time). Week 04 ||Assembly Design
Art and Flywork, Light sound, Rotterdam
6 || Sonic Responsive Studio || Fall 2014
This week should be the end of the experimentation of the components, joints, employed kinetic system and how they work on a global scale. Design presentation, design progress, and system testing should be finalized by the end of the week.
Week 05 - 07 || Production Phase on-going After the tutorials end, starting this week studio will be dedicated for students to produce the final projects. The compilation of the collected design process documentation during the session should begin in tandem of the final production phase. Week 08 || Document Assembly and Final Presentation Final production of documentation, models, boards, and presentation (videos & code). This final week of the session will end with a jury; students will present their design process, as well as, the final project. P in U p S essions : Week 02 || Oct 27 Students will explain the basic concept of the system and what they aim to achieve. Each team should show the initial experimentation through drawings (hand sketches & generated models) and sketch models.
deCOi : Aegis Hyposurface
Week 03 || Nov 05 Each team will explain the work progress by presenting the component system and connecting joints. Herein, the students will use any means to show what the system is meant to perform through code, digital models, and physical models (at different scales). Week 04 || Nov 14 The last informal class discussion. Each team will have the benefit of discussing with their peers how they can finalize the experimentation and present their idea (verbally, graphically, and physically). Week 05 || Nov 26: Interim Session* The event is a formal presentation intended as a test run for the final jury. Each team will show a complete project, and they are required to present a mock-up of all the outcome requirements documentation, boards, and models (See the ‘Grading and Evaluation’ section of this document). F inal J ury : Week 07 || Oct 11: Good Luck! Liminal : Organ of Corti: St Paul’s Cathedral
Merate Barakat || 7
STU DIO
G rading
and
E valuation :
W ork P rogress & A ttendance :: 10% of grade
FALL
Each team is required to produce for ever work session:
20%
_150 _ word paragraph _3 _ images (sketches, models, and/or diagram) _Code _ and/or pseudo-code (When applicable) _30 _ second video clip (When applicable) D ocumentation :: 20% of grade :: Due Dec 12, 2014 WORK PROGRESS
FULL SCALE MODEL
40%
10%
INTERIM PRESENTATION
FINAL
PRESENTATION
20%
DOCUMENTATION
2014
20%
The accumulation of text and documentation material will allow the students to compile a full document to be submitted at the final jury. The students are free to choose the format that best suits their design. _PDF _ document - To Be uploaded on cloud _One _ printed and bound - copy _Code _ files - To Be uploaded on cloud I nterim P resentation :: 10% of grade :: Due Nov 26, 2014 Same requirements of the Final Presentation, and Model Mock up F inal P resentation :: 20% of grade :: Due Dec 12, 2014 _4 _ Boards, Size D (22x34 inches) (Minimum) _20 _ minute presentation of design progress and working code (PPT or any other suitable file format) I ntervention D esign :: 40% of grade :: Due Oct 11, 2013 _Full _ Scale model of the design/ installation (Maximum Size (25 SqFt))
8 || Sonic Responsive Studio || Fall 2014
R eferences
and
L inks :
T heory : Sonic Responsive System Design
Blesser, B., & Salter, L.-r. (2006). Spaces speak, are you listening? Corbin, A. (1998). Village Bells: Sound and Meaning in the 19th-century French Countryside. Columbia University Press. LaBelle, B. (2010). Acoustic Territories: Sound Culture and Everyday Life. Continuum. Matossian, N. (2005). Xenakis. Schafer, R. M. (1993). The Soundscape: Our environment and the tuning of the world. Destiny Books. Turner, J., & Pretlove, A. (1991). Acoustics for Engineers. Palgrave Macmillan. http://www.everydaylistening.com/
Emergence and Evolutionary Design
Carroll, Sean B.(2005). Endless Forms Most Beautiful: The New Science of Evo Devo and the Making of the Animal Kingdom. WW Norton & Company. Johnson, Steven.(2001) Emergence: The Connected Lives of Ants, Brains, Cities and Software. Simon & Schuster. Thompson, D’Arcy Wentworth.(1992). On Growth and Form: The Complete Revised Edition. Dover. Weinstock, M. (2010). The Architecture of Emergence: The Evolution of form in nature and civilization.
Vok Dams : Soundmachines
Biomimicry, Fabrication, and Materials
Benyus, J. () Biomimicry: Innovation Inspired by Nature Balmond C. & Smith J. (2002). Informal: The informal in architecture and engineering, Prestel (Munich) Gruber, Petra. (2010). Biomimetics in Architecture: Architecture of Life and Buildings. Springer. Architectural Design (July/August 2007) Special Issue: 4dsocial: Interactive Design Environments
P rogramming : Processing
Reas, C., & Fry, B. (2007). Processing: A programming handbook for visual designers and artists. MIT Press. http://processing.org/ http://openprocessing.org/
Grasshopper3D
http://www.grasshopper3d.com/ http://fireflyexperiments.com/ http://www.food4rhino.com/ http://code.algorithmicdesign.net/
Arduino
Adams, J., & Molle, H. (2011). Arduino Robotics by John-David Warren. Blum, J. (2013).Exploring Arduino: Tools and Techniques for Engineering Wizardry http://www.arduino.cc/ http://www.jeremyblum.com/
Anna Liu, Mike Tonkin : Singing Ringing Tree
Merate Barakat || 9
P arts
Zimoun :Sound Sculpture : Filler Wire 1.0 mm
Bricks and Bones : Soma Meets Sonic
10 || Sonic Responsive Studio || Fall 2014
list (P er T eam ) Option 01: Arduino Starter Kit Option 02: 1_Main Arduino UNO board rev.3 USB Cable Breadboard Base (wood) 2_Power 9V Battery Clip Solid core jumper wires (x30) Stranded jumper wires (x2) 5V Regulator* 3_Light LED (bright white) LEDs (red) (x1) LEDs (green) (x1) LEDs (yellow) (x1)* LEDs (blue) (x1)* 4_Resistors 1k ohm Resistor 220 ohm Resistor(x2) 10k ohm Resistor(x2) 100 ohm Resistor (x2) 150 ohm Resistor 10k Potentiometer (x2) 5_Sensors Photoresistor Temperature sensor [TMP36] Or Thermistor Tilt sensor* Pushbutton IR Distance Sensor* I2C Celsius Temperature Sensor*
6_Capacitors .1uF capacitor 1uF Capacitor 22uF capacitor* 10uF Capacitor 7_Motors Small DC motor 6/9V Small servo motor Geared DC Motor* Servo Motor* 8_Sound Electret Microphone Breakout NOT JUST - Electret Microphone Piezo Speaker &/ or Speaker 0.5W (8 ohm) 9_Other Jumper Kit Multimeter [Any Type]* NPN Transistor 1N4004 Diode LM324 Op Amp*
W here
to buy parts
C heap
http://www.element14.com/community/groups/arduino https://www.sparkfun.com/ http://www.ece.usu.edu/ece_store/
C ontacts & I nfo :
Merate Barakat:
A licensed architect (North America & Middle East) with international experience, media designer, and academic researcher. She has worked for PMA (Prescott Muir Architects), based in Salt Lake City, Utah, where she worked on numerous projects that have received design awards by the AIA (American Institute of Architects). She has attained an MArch from the University of Utah, an MSc in Computer Science from the University of Nottinghamshire, and BSc for the Arab Academy of Science in Technology, Alexandria - Egypt Campus. Currently, she is finalizing exploring her main research interest, urban acoustics, as a PhD Candidate at the Architectural Association School of Architecture, London. merate.barakat@aaschool.as.uk merate.barakat@gmail.com www.meratebarakat.com
Merate Barakat || 11
S chedule :
STU DIO
FALL
WEEK 01 || OCT 20-24
WEEK 02 || OCT 27-31
WEEK 03 || NOV 03-07
WEEK 04 || NOV 10-14
Lecture:: Sonic system design.
L e c t u r e : : B i o m i m i c r y, Fabrication & Materials.
Lecture:: Emergence, Evolution & Algorithmic Design
Advanced Optional
Working Session:: Separate in teams of 2 and start a brain storming session.
Pin-Up Session::
Working Session::
Working Session::
Arduino Tutorial:: _Intro _EE Basics _Functions && Inputs
ArduinoTutorial:: _w/ Intro to Processing _Variables && Functions _Loops && Conditional
Grasshopper Tutorial:: _Parametric Space _Fabrication _Nesting
Advanced Optional
Working Session::
Working Session::
Pin-Up Session:
Working Session:
Arduino Tutorial:: _Motors && Transistors _Sensors _Light && Sound
Processing Tutorial:: _Objects && Classes _Libraries && Toxiclibs _Mathematics && Vectors
ArduinoTutorial:: _Firefly (w/ Grasshopper)
Advanced Arduino :: Optional
Working Session ::
Working Session ::
Working Session:
Pin-Up Session::
03 || FRIDAY
02 || WEDNESDAY
01 || MONDAY
2014 Responsive
12 || Sonic Responsive Studio || Fall 2014
Processing
Grasshopper
::
::
WEEK 05 || NOV 17-21
WEEK 06 || NOV 24-28
WEEK 07 || DEC 01-05
WEEK 08 || DEC 08-12
Working Session::
Working Session::
Working Session::
Working Session::
Working Session::
Interim Session::
Working Session:
Working Session::
Working Session::
Thanksgiving
(Seriously, don’t come to school!)
Working Session::
FINAL JURY
Merate Barakat || 13