Ramiro Campusano Portfolio
Ramiro Campusano. Assoc. AIA M. Arch Candidate CAPPA- College of Architecture, Planning and Public Affairs University of Texas at Arlington 214-604-0172 ramiro.campusano@mavs.uta.edu
01.
Acoustical Earth
03.
9th Grade Center
02.
Bishop-Davis-Jefferson
04.
The Three Minimalists
01. Acoustical Earth [architectural]research Earth is a sustainable material, and it’s versatility allows for it to be reused. Earth posesses great acoustical properties through sound reflection and sound diffusion from its high surface density (Rammed Earth Works). The geometry of a surface can perform a dynamic sound experience by its manipulation though several sizes and shapes. Acoustical Earth was the research that I conducted with 3 of my colleagues to investigate how the material rammed earth could enhance the acosutical properties of a surface and hence the acoustics of a space. Team: Ramiro Campusano Komal Nandanwar Trenton Parker Atabong Fonkeng
Through computational methods an optimal reverberation time can be achieved when introducing rammed earth blocks as the primary acoustic surface to a space. The articulation of the surface is controlled through the synthesis of a series of optimal sound shapes both artificial and biological.
Initial process of the material and manipulation of the form and compression process.
With the use of the CNC machine a first mold done using HDF, and the form was developed using Rhino and Grasshopper.
SURFACE ANALYSIS + ARTICULATION SCHROEDER INTEGRAL - Integrated impulse method measuring sound decay without using impulses.
CONTINUOUS BRAIN-CORAL PATTERN EXTRAPULATED
POINT AND LINE GEOMETRY COMBINED TO FORM CONTINUOUS GEOMETRIC PATTERN. SINGLE BLOCK MODULE WITH SHARP EDGES
Simulation I
SHARP EDGES ARE ROUNDED IN BLOCK FOR THE MODULE TO REDUCE CRACKING AND EROSION
BLOCK MODULED STACKED IN CONTINUOS GEOMETRIC PATTERN
MODULE ARTICULATION: The geometry on the surface of each module is designed to be rotated 90,180 and 360 degrees; hence articulating a macro geometry when the modules are assembled into a larger composition.
SURFACE CONFIGURATION: As the modules get rotated to articulate different geometric outcomes on the surface of the assembly, they each have different performative outcomes.
Fig. 1
Fig. 3
Fig. 2
In Fig. 1, the configuration of the modules as a whole gives a linear design to the surface as well as giving sound direction to move around and diffusse more evenly. In Fig. 2, the configuration of the modules as a whole gives a point design to the surface as it creates pockets where the sound would enter and scattered omni-directional. In Fig. 3 and Fig. 4, the configuration of the modules combines both the line and point geomtric configurations to a large assembly where both performative outcomes perhaps enhance both the diffussion and RT60 of sound.
Fig. 4 THE UNIVERSITY OF TEXAS-ARLINGTON SCHOOL OF ARCHITECTURE
RAMIRO CAMPUSANO
THE UNIVERSITY OF TEXAS-ARLINGTON SCHOOL OF ARCHITECTURE
The process taken to perform the initial testing was through digital simulation using the Acoustic Shoot - a grasshopper algorithm.
KOMAL NANDANWAR
RAMIRO CAMPUSANO
TRENTON PARKER
ATABONG FONKENG
After the initial study of the metarial, form and different methods to formulate that form and achieve ideal compression, further study continued evolving into a new geometric form and new unit shape.
LEGEND %CLAY %SAND %CEMENT
5
Rammed Earth 5" Module
r-- Milled 3/4" Baltic Birch Plywood 3 Layers
/
/
Pressure Treated 3/4" Plywood 2 Layers
Wall configuration
THE UNIVERSITY OF TEXAS-ARLINGTON I SCHOOL OF ARCHITECTURE
Following the new surface geometry and the unit form, the process begins to fabricate the next and final Rammed Earth unit to test acoustically.
KOMAL NANDANWAR
View of the full scale 4’ by 4’ Acoustical Wall
RAMIRO CAMPU
RT60 EQUATION DETERMINED BY WALLACE SABINE: Room volume in thousand cubic feet 3.0
0.05 · vvolume
R Treverberation time
( S1 area of the wall · al abs coeff of the wall )
+ ( S2
area of the ceiling · a,2 abs coeff of the ceiling ) • • •
and
SO
3.5
7.0
10.5
17.5
35.0
70.0
2.5
on
175
105
---Pi
2.0
i ert conc
-
i
op•'"
1.0
65
Room Acoustics
Optimal Reverberation Time
0.4 0.6
0.8 1.0
1.2
1.4 1.6
1.8 2.0 2.2 2.4
2.6
I I I I I I I I I I I I I I I �,,'.no¢ qt;> ! I
Unampllfi&'l music
1
± IJJ :
0
Cla�sical period e.g. Beethoveh
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Speech Electronic. rewrding and ampllfic.itic,n for unamplifie.d spaces, low· freq.uency te\lerl>tration times may l>e 1.2 times tlte o�imal mid freq.uency times listed here
0.6
Nlr amplifle.d spaces,low· frequency reverl>eration times 91Mluldn't excudthe times listed here
ln this examp�: \ Ahigh school auditorium of :300,0
I
,
ab&0rptive material
100%
90% �
30% 70%
i
i
� 0.2judge.:I a relatively�live� room Concert hall
Nearly empty room with smooth hard surfaces
60% � ;:; 50% •
frequency =
4
x
N
3rd harmonic
Least-absorbent porous absorbers
frequency ;; 3 x N
K---><=----� --,>t 2nd harmonic
frequency =
Heavyc.arpet on concret.e
0.2
Sthharmonic
2
x
N
fundamental
Carpet on concrete
1st harmonic
Lightweight ,urtains flush to wall
frequency= N
Glass
Gypsum wall board
1 00% of incident sound e ne:rgy refl e:cted
wave image of the harmonic series
•
40% J :30%
:5
"·
20%
1"
0%
�
10%
Adapted from M. D. Egan. Architectural Acoustics. J. Ross, 2007, pp. 84-133.
1
6thharmonic
4thharmonic
Heavyweight wrtain,s
s,,,
II I •- '. ' ' I I II ' d aa=' n, ·a .... I
20.0 30.0
frequency ;; 5 x N
S-Ound-absorlient banners
Thick acousticaI ceiling tile
'� ii 0.4 Unpainted concrete block ' ' oaaoa 0a bu ' 1 I Heavyc.arpet on rubber backing I
10.0
frequency= 6 x N
Me.:lium-weight curt.a ins
Dorinc:::::::Jtml
I
-
s
5.0
-
Occupied audience seats, per square foot
"��"µa:
tJo
3.0
-
:·:, :w:op,:ca M"'1'a", Acoustic.al ceilin9 tile .,
Multi -pu� os;auditoria Room with large qUJntities of a l,,sorption I I I ,I. I I I I , , , H�h school audito!U 00u0C::::'.::i00 Office with many al>sorl>ent surfaces a : I, mapa�DD: pra, , , l I 1. 0.4judge.:I a relatively�dea&I� ro1.1m Lecture alki conference rooms Alarger high school auditorium Cinema , Room with absorbing material on both ceiling and walls , , , • pO, t:11n expect a reverl>eration Oll�lJ Elernenlaryclassrooms l time on the high-skteofthe > 0.3 eliminates excessive reverberant:e in restaurants R.e�on:ling�ndtroadca�ting studios optimalrange. IAsmaller one 0 D Nig.htduii,danre. ndrockl>an.:is woulde>CpeGta shorterti1118.) Room with absorptive furniture .ir small amount of '
2.0
Spraye.:l·o� awustical plaster
ReGor.:ling studio for speech
Musi.::al ·,. ',0u ' ' comedies, ' ' ' operettas ' "O[JD••0=· Ch�rch�s - �athed+ls
1.0
iUI
Open window: OX of incident sourw:l energyreftectec:I
The most-absorbent porous ab&0t'bers Snow
_, _ _ a.lala "1 I I pa� a Poll On m:ma,�;::::;=;::::::;::�::;:�:;:::;:::iinD aQ
Light opera,e.g. Gill>ert and 5Plli�an Semi-classical conJrtJ, chbrud, (uing �ou� s;stJm)
0.5
clilO sp e ch a1
37
Speech frequency ai,sorption
'
-
0.2
li'usic
Room volume in thousand cubic meters
Specific material noise reduction coefficient (NRG):
Anechoic chamber used for acoustics- research
0
Liturgical (orchestra,chant,clw.irus)
I h.e�ostad�i�C�hct:.Ch�II/ Romantlc,per)od �·9· �cha�fll'�ky :aa
usic
na\\
\.neaters
Fig. 5.12 Suggested optimum reverberation times for various activities at 500 Hz. For cinema halls, recording studios, and and broadcasting studios, see Chapter 8. (Note that the values shown are for normal hearing. For hearing-impaired and older individuals, the optimum reverberation times for speech auditoriums should be less than those shown, see Section 6.10.)
Sound Absorption
Room average a�sorption coefficient (a) area-weighted
Unoccupied mid-freq_uency reverberation time (sec) 0.2
and Lecture rooms
0.5 0.0 0.1
700 1,050
(cnestra\ ff\ . ,or o
. nt I �II jol 119 I cance
1.5
Where RT is the "reverberation time," the time in seconds required for sound to decay by 60 decibels V is the volume of the space measured in cubic feet is the surface area of a given material in the room in square feet is the absorption coefficient of that same material
350
f0us\C
e1,u1cn -
'5
�
Adapted from M. D. Egan. Architectural Acoustics. J. Ross, 2007, pp. 64-133
Sound test was conducted in a sound/recording studio facilitated by the Music Department here at UTA. The room was a 11.5' by 1O' space that consisted of 26 absorptive panels spread evenly on the four walls; hence, the room was 50% absorptive and 50% reflective. The tests were conducting using the REW EQ Wizard software which reads sound loudness in relationship to frequencies, and also measures the RT60 for that particular frequency. For the purpose of the testing of these blocks, there were tested by using pure tones, and also harmonics.
THE UNIVERSITY OF TEXAS-ARLINGTON I SCHOOL OF ARCHITECTURE
KOMAL NANDANWAR
RAMIRO CAMPUSANO
TRENTON PARKER
ATABONG FONKENG
Acoustical testing outcome of the life-size rammed earth blocks wall.
Acoustical application:Recital Hall or Auditorium.
02. Bishop-Davis Jefferson [urban]design This project was investiagted at the urban scale, the outcome wa to selcta site in noeighborhood in Dallas, do intensive research md through that reseracch identify tensions, intelligences. The design guidelines then became the existing intelligences and the results were a series of interventions that taking advantage of the intelligences aid to fully or bein to resolve the tensions present in the site. Team: Ramiro Campusano Rebekka Baker Roland Gentry
Davis St - Bishop Ave Connection
Bishop Ave - Jefferson Blvd Connection
Bishop Ave - Jefferson Blvd - Davis Connection
View of the revitalization of the existing retail in Bishop Arts District by comparmentalizing the footprints of businesses to maximize profit.
View of one of the delapidated houses that was converted to an airbnb hotel to use the existing urban fabric while providing touristst accomodations.
View of the revitalization at the the intersection of Jefferson and Bishop. An elevated second layer was added to the fabric of Jefferson to begin defining how the combination of these two neightborhoods would happen.
With the addition of new store types and elevating the public but keeping the circulation to those elevated spaces through the existing urban fabric, social interaction starts to develop between the two neoghtborhoods.
03. 9th Grade Center [education]design
SITE PLAN
N
The education studio was research -based studio in collaboration with the non-profit roganization A4LE to investigate topics that are chaanogn the way we see K-12th education design. the studio was broken into 5 different reserach topics: Student-Based Learning, High Performance, Universal Design, Biophilic Learning and Security. Using the knowledge acquired through the reserach, we were to proppose a design for a 9th Grade Center using specific design guidelines.
ENTRY
MAKER SPACES
SCIENCE/LABS
STORAGE LEARNING SPACES
VERTICAL CIRCULATION ADMINISTRATION
ADMINISTRATION COMMON SPACES
SERVICES
INSTRUCTIONAL SUPPORT
OUTDOOR SPACES
COLLABORATION SPACES SERVICES OUTDOOR SPACES
FIRST FLOOR
N
SECOND FLOOR
INDIVIDUAL SPACES
VERTICAL CIRCULATION ADMINISTRATION COMMON SPACES OUTDOOR SPACES
THIRD FLOOR
N
N
Section Perspective
Section Perspective
View of the Learning Spaces
View of the Individual Learning pods
View of the Learning Spaces
View of the Outdoor spaces adjacent to the Learning Spaces.
View of the Outdoor spaces adjacent to the Learning Spaces.
04. The Three Minimalists [residential]design The three minimalists is a project that develops in the heart of the East Dallas Area. It is a typical 150â&#x20AC;&#x2122; by 50â&#x20AC;&#x2122; lot that sits in the corner of Ashby and Deere St, facing towards Deere. This project encompasses three townhomes that feature a minimalist style, these are three townhomes that not only incorporate the minimalist design approach, they also encourage the minimalist lifestyle.
DEERE STREET
N
ASHBY STREET
FIRST FLOOR
LEVEL 1
SCALE: 1/8”-1’
SECOND FLOOR
SECTION PERSPECTIVE
SECTION 2
SECTION 1
SCALE: 1/8”-1’
SCALE: 1/8”-1’
LONGITUDINAL SECTION
TRANSVERSE SECTIONS
SECTION 3 SCALE: 1/8”-1’
PUBLIC SPACES
SOUTH ELEVATIONS
INTERIOR VIEW
PRIVATE SPACES
NORTH ELEVATIONS
INTERIOR VIEW