socio-acoustic wall [PARAMETRIC DESIGN] /// A WALL CAPABLE OF MANIPULATING PUBLIC AND PRIVATE BOUNDARIES, DRIVEN BY AUDIO INPUT
phase four
phase two
refining component || configuration of material and operational explanation
developing wall form || analyzing Angle of Incidence[sound] Scheme 6 was designed based on the angle of incidence of sound on the different characteristics of the wall and to human scale. The exterior of the wall is convex in shape for optimal noise reflection away from the crit spaces while the interior of the wall is concave to focus sound.
The initial phase of this investigation was identifying a spatial need that could be resolved by implementing a parametric design solution. Our experience with acoustic distractions that occur in various spaces within our architecture building at Montana State University provided us with a problem we intended to resolve using a parametric wall design. The studio/critique spaces on the lower south-side of Cheever Hall are divided into three spaces by a series of office dividers. Three open studio spaces surround these critique rooms, making hearing and communicating at times, almost impracticable. The existing office dividers provide adequate space for presenting boards, but offer no acoustic dampening of the space.
TYPE [ _1 ]
TYPE [ _2 ]
design development || pre-fab/parametric integration
Choosing the component geometry was primarily based on acoustical analysis. The angle of incidence of sound provided direction for appropriate configurations. The rotational parameters that we initially set meant that the component had to be able to rotate within a given dimension. Interest in a hexagonal arrangement arrived after other configurations such as rectilinear, triangular, and circular were investigated. Materialality became a large part of the component design. The basic hexagonal shape provided us with a double sided surface. Each side is to respond differently to the absence/presence of sound. One side of the hexagonal component is composed of an acoustical spunge-like foam which is meant to dampen/reduce acoustical disturbance. While studying the form of the wall and how sound reacts with the surface, we discovered uneven, angled surfaces do well at dispursing sound waves, where as flat parallel surfaces reflect sound back at the source. This lead the design of the component’s acoustical surface to be angular, dispursing soundwaves in six difference directions[illustrated in the lower right corner]. The acoustical surface of the component is complimented by a back surface composed of a highly reflective nickel-coated aluminum plate. This is the contrary response to sound; silence. The idea of incorporating light and sound into one wall is intended to bring the two senses together; to understand the two together rather than seperate sensual experiences. The core of the component is a single plywood board with a cylindar at its center which rotates around an axel. The cylindar is powered by a small motor driven by an Arduino processor which interpets sound input. When sound is received by the processor the motor initiates component revolution. The higher the intensity means a greater area of components is affected. A higher intensity also means a greater angular revolution by the component. If a child were to sneeze by the wall, the components might make a ‘half’ revolution, where as if the child were to yell or scream, the components would make a full revolution until the sound decreased. There is a visual connection to the sound created by the person making them aware of the acoustical presence. In addition to simply making someone aware of their ‘sounds’, the wall helps to dampen inconvenient sound.
GRASSHOPPER DEFINITION [ a_6 ]
Below, are three wall types whose acoustical shape were taken into consideration for the final wall design. Wall type 1 demonstrates the acoustical properties of a straight, curved top wall. Wall type 2 demonstrates the same straight wall with an indentation which focuses the sound. Wall type 3 demonstrates a bending wall and the effects of sound bouncing off a convex surface. The final wall design, scheme 6, employs all three of the studied wall types while wrapping around and over the crit spaces reducing noise pollution within the crit spaces while focusing sound inside the crit spaces. In section, the wall reacts to human scale and curves outward at head height.
PURPOSE: TO ENCOURAGE INDIVIDUALS AND GROUPS TO REALIZE THEIR ACOUSTICAL PRESENCE BY A RESPONDING WALL.
phase five
TYPE [ _3 ]
Six surface conditions were designed and investigated in order to provide a singular wall surface condition that best suited these spaces for socio-acoustic conditions. Six [individual] component designs were also investigated by means of their functional properties as well as their mechanical structure. Using parametric design, we were able to set certain parameters from the beginning of the design process from which we were able to edit and manipulate during the entire phase of design and development. The concept of a wall making an visual-acoustic relationship within the individual will increase the individual’s awareness of his/her own ‘sound’ presence. It is necessary for an individual’s own perception to be challenged by an outside source, causing the individual to question his/her original thoughts.
LINE WORK [ a_6 ]
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ground plan CHEEVER HALL
The wall has a primary structure with secondary components that respond to audio input received by various microphones within the wall. The secondary components include a highly reflective, concave surface on one side, and a rather porous material that absorbs sound waves on the other side. These components rotate on an axis, providing various functions to both sides of the wall. The wall acts in response to two inputs it receives: the first being sound with relationship to the source’s proximity to the wall, the second being the intensity or sound level that the source is emitting. The components spin on an axis depending on the input that the system is given. A moving sound source passing by the wall will attract the sound-dampening face of the wall, while silence attracts the highlyreflective wall surface. Static moments where no input is fed into the system could either direct the components to all face one direction or to remain ‘open’ on their axis.
COMPONENT [ c_1 ]
within structural frame
PROGRAMS USED: [rhino4] [grasshopper] [processing] [InDesign] [illustrator] [photoshop] [maxwell]
PROCESSING SCRIPT PrintWriter outputFile; String outputText; import hypermedia.net.*; UDP udp; import ddf.minim.*; Minim minim; AudioInput in; void setup() { size(1000, 500); background(255); outputFile = createWriter(“SoundValues.csv”); minim = new Minim(this); // get a line in from Minim, default bit depth is 16 in = minim.getLineIn(Minim.STEREO, 512);
acoustical foam adhesive
ROOF PLAN [ a_1 ]
phase one
plywood core
udp = new UDP( this, 6000 );
steel axel
identifying place || experimenting with surface form driven by existing structure
} void draw() { String[] data = loadStrings(“SoundValues.csv”);
aluminum cylindar aluminum bracket
SIDE ELEVATION [ a_1 ]
SECTION [ a_1 ]
/* try { outputFile = createWriter(“SoundValues.csv”); for (int i = 0; i < data.length; i++) { outputFile.println(data[i]); } outputFile.println(myRecordVal); //WRITE YOUR DATA TO THE FILE outputFile.flush(); outputFile.close(); } catch(Exception e) { println(“error: “); } */
nickel-plated aluminum
FRONT ELEVATION [ a_1 ]
bolt-nut connection
phase three
designing component solutions || experimenting with individual component design/function
COMPONENT [ c_1 ]
acoustic side perspective
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SCHEME [ 1 ]
SCHEME [ 4 ]
lower gallery critique spaces CHEEVER HALL
SCHEME [ 2 ]
SCHEME [ 5 ]
The wall surface that was derived by angle of incidence is comprised of hundreds of individual components. The intention of the wall [form] as a whole is to focus sound and scatter it where needed. The individual components work in the same matter but on a much smaller scale. Convex and concave forms were explored through various geometries, due to their manipulative characteristics to sound [and light]. The renditions to the right include three series of geometries explored. Each series was then either intensified or depressed on either single or multiple axes. The choice of the component relied on functionality. The intention of each component was to revolve around an axis attached to a larger structure as a responce to sound data input. The revolution of each component therefor needed to spin within certain physical parameters, making bulky and wide geometries less feasable. Materiality also influenced component design. It was known at this phase that one side’s material would respond to sound while the other would respond to light.
SCHEME [ 3 ]
SCHEME [ 6 ]
mirror side perspective
COMPONENT [ c_1 ]
sound reflection study
float myRecordVal = in.left.get(8)*500; String message = str(myRecordVal); // the message to send String ip = “127.0.0.1”; // the remote IP address of Host int port = 6000; // the destination port udp.send( message, ip, port ); }
phase five
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lower gallery ground plan CHEEVER HALL
COMPONENT [ c_1 ]
000
//// Final component design
deriving structure || grid structure by geometry of component SCHEME [ a_1 ]
SCHEME [ a_2 ]
SCHEME [ a_3 ]
SCHEME [ b_1 ]
SCHEME [ b_2]
SCHEME [ b_3]
SCHEME [ c_2 ]
SCHEME [ c_3 ]
001
The components are held in place by an aluminum honeycomb exoskeleton structure. Aluminum was chosen as the final candidate for the structure because of its’ lightness and bendability. The structure will be cut out of aluminum sheets with the CNC machine and bolted together on site. The structure will be suspended from the ceiling through to the floor to prevent swaying and to decrease impact on the surface of the floor. Suspension was chosen as the most appropriate solution compared to other schemes such as fabricating a stand for the wall or embedding the wall within the floor because it further reinforces the idea of lightness.
002
003