sound space Tham Jee Sheng, Vincent Glasgow School of Art, Singapore Ba (Hons) Interior Design Thesis Project
Introduction
1
Project Site
7
Research and Experiment
12
Case Studies
29
Design Process and Development
38
Final Design Outcome
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“Can architecture be heard? Most people would probably say that as architecture does not produce sound, it cannot be heard. But neither does it radiate light and yet it can be seen. We see the light it reflects and thereby gain an impression of form and material. In the same way, we hear the sounds it reflects and they too, give us an impression of form and material. Differently shaped rooms and different materials reverberate differently.� - Steen Eiler Rasmussen
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P eter Z u mt ho r, S w i ss S o u n d B o x , Ex p o 2 0 0 0 , H a n n o v er. S o u r ce:
Z u mt ho r , P eters, ‘A t mo sp heres: A rchi tect u ra l E n v i ro n men t , S u r r o u n d i n g Ob jects’, Bir k h ä us e r
Every space has a certain sound. It is shaped by the geometry of the enclosure as well as the materials that make up the space. Sound has an impact just as strong as light in our daily experiences. Although it is known today that the information capacity of sight is a hundred times greater than that of hearing, the primary communicational form of understanding among people has developed through auditory perceptions. From the very beginning since birth, it is more important for intellectual and emotional development to hear properly instead of seeing properly. While light gives us orientation and order, sound moves us emotionally.
The presence of sound makes up the difference between a two dimensional and a three dimensional experience. However, spaces are planned and designed in a two dimensional format such as on a paper or a computer screen. Many architects and interior designers today place huge emphasis on the visual aspect of the spatial design and no regard towards the acoustic characteristic of the space. The acoustics of the space is often an avoided topic among the designers, even though it greatly affects the spatial experience. The acoustics of the space is often not considered part of the responsibility of a designer and only an acoustic engineer has the necessary skills to make the correct adjustments.
This thesis project seeks to prove that spaces can be acoustically designed without the need of complex calculation and computer simulation. The acoustics of a space can be predicted with a enough understanding of sound through researches and precedent studies. This thesis project also questions the empirical effect of sound on spatial experience and explores the potentials of acoustics as an artistic element in spatial design beyond the technicalities.
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P eter Z u mt ho r, S w i ss S o u n d B o x , Ex p o 2 0 0 0 , H a n n o v er. S o u r ce:
Z u mt ho r , P eters, ‘A t mo sp heres: A rchi tect u ra l E n v i ro n men t , S u r r o u n d i n g Ob jects’, Bir k h ä us e r
Sound, or acoustics, is an important element in Peter Zumthor’s pursuit of designing spaces with “presence”. In Peter Zumthor’s book ‘Atmosphere’, Zumthor explains that interiors are like large instruments, collecting sound, amplifying it and transmitting it elsewhere. The acoustics of an interior affects the experience enormously, even if we are not consciously aware of it. Imagine when all the noises we have grown accustomed to, such as mechanical noises, conversations and wind noises are absent when we enter a space that is soundproofed, our senses are heighten due to the absence of the ‘noisy’ stimulants and focus on the ‘sound’ of the space itself. Zumthor define the ‘sound’ of the space as the beautiful silence of architecture.
The Swiss Sound Box by Zumthor is a great example of using sound as the main design influence. The aim of the project is to create an architecture of senses based on the concept of Phenomenology. The Sound Box acts as a sound box for the exhibition held within the space. The sound of the space constantly changes as musicians and soloist improvise alongside the changing of the audience’s number and movements. The experience of the Swiss Sound Box constantly changes as the users, weather, wind, and sun changes. The light and shadow, texture of the materials and the acoustics of the space greatly affects the experience, or the rhythm in which one walks within. The various elements within the spaces informs one’s movement and feeling, just as how music informs a story without the use of words and literature.
The Swiss Sound Box became the main inspiration of this thesis project as it shows how impactful acoustics can have on spatial experience. It also shows that spaces can be acoustically designed without the cost of visual aesthetics. This project seeks to design a space that is both acoustically and visually pleasing.
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Project Site Khoo Academy of Music and Art is a small local music academy located in a rural town of
The project site is three shophouses linked together. The main activity of the site is
Kuantan. The academy provides music lessons ranging from beginner to advanced level.
music lessons taking place in Studios in the second storey. Khoo Academy also has a
The academy is unlike any other local music academies as it does not only focus on solo
shop and a Showroom to sell music instruments on the first storey. The newest space
practical exams but also chamber music, which is a type of performance that involves
of the site is the Recital Hall which takes up one entirely shophouse. The Recital Hall
groups of musician playing different instruments. The principal strongly believes that
holds frequent music performances as well as a music examination venue for East Coast
interaction and collaboration are fundamentally important to the development of a
of Malaysia. While the Studios and the Recital Hall are the two main spaces of the
musician.
site, there are also spaces huge enough to host group lessons and practices such as a Multipurpose Space and a Classroom.
Khoo Academy of Music and Art functions more similarly to a community club than a typical music academy where students only come for lessons. The academy welcomes the students as well as the parents to mingle around and interact with each other. The constant exchange of ideas amongst the students helps to the students to better understand the music while motivating each other. The academy is a hub for the young musicians to hone and master their art.
As the face-to-face interaction is an important activity in Khoo Academy, the acoustics of the interior became crucial to the user experience. This thesis project not only seeks to improve the user experience of the various spaces through establish technicalities of acoustics, but also explores acoustics as an artistic means in spatial design.
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En t r a n c e Foye r / R e ce pti on / Show ro o m
R e c i t a l H al l
W a i ti n g L o d g e
L i b ra r y
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2
7
1
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E ntran ce Foye r / Rec eptio n / Sho w ro o m
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W ai ti ng L odge
3
R e ci tal Hal l
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L i brary
5
Admi ni strati on O ffic e
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Pri nci pal ’s Stu dio
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Stu di o
1ST STOREY
0
1
5M 9
Studio
Co rr i d o r t o St udio s
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Stu di o
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C l assroom
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Mu l ti pu rpose Spac e
2ND STOREY
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0
1
5M 11
Resear c h and Expe rime ntation
Bo sto n Sympho ny H all So urc e: https ://w w w.b o st o n ma g a z i n e.co m/ a rts- en tert a i n men t/ 2 0 1 4 / 0 9 / 0 8 / ho l i d a y - p o p s- b o st o n - 2 0 1 4 - ti ck ets/
Acoustics of Performing Spaces Sound has always been shaped by space. Through the entire history of music evolution,
The Boston Symphony Hall is one of the first performing spaces designed with a genuine
music has always been composed to suit the space in which it is performed. Monks
understanding on acosutics in modern time. The design of the Boston Symphony Hall
wrote their medieval liturgical music, with its hardly intelligible Gregorian chanting,
was advised by the father of modern architectural acoustic Wallace Clement Sabine.
specifically for the reverberant cathedrals of a millennium ago. Highly articulated
Even though the concert hall is designed and built in 1900, it has a classical design
song would have been lost in the cavernous stone spaces. Likewise, traditional West
resembling the classical concert hall built in the 1700s. The concert hall is highly
African music, with its loud instruments and intricate rhythms, was responsive to its own
decorated with classical ornamentations such as statues, ceiling coffers, ceiling cornices
outdoor, almost anechoic environment. Bach composed his fast-tempo contrapuntal
and wall carvings. This has prompted that perhaps the classical ornamentations are
work, with two or more simultaneous intertwining melodies for the less reverberant
contributing to the amazing acoustic quality of the performing spaces. Many of the
ducal chapels and chamber orchestras. One hundred and fifty years later, Wagner wrote
active performing spaces today are built before Modernism during the three musical
some of his operas specifically for performance in his Festspielhaus, and Berlioz did the
periods: Baroque, Classical and Romantic. This has prompted a deep analysis on these
same for Paris’s Les Invalides. Others of the romantic period – Schubert, Mendelssohn,
performing spaces, and how has music evolved to accomodate the concert halls built
Brahms, Tchaikovsky, Strauss, Ravel, and Debussy – responded to the changing mores
during the relevant period.
of the age with pieces that featured greater dynamic range with loud and quiet passages. They reacted to the larger contemporary halls, dedicated to concerts and more reverberant, with work that was more textural than intricate. More recently, punk rock bands established concise rhythms, responding to the less reverberant and more amplified clubs that hosted them; arena amplification and sports stadiums standing in as performance halls. Most musicians allowed their work to diverge in two distinct streams, one for live performance and another for digital recording. This was one thread of the history of musical and theatrical performance – music composition in service of the rooms of an epoch.
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H eidec ksburg P alac e Banqu et H a l l , Ru d o l fst a d t , G erma n y So urc e: http://w w w .scha t z k a mmer- t hu eri n g en .d e/ en / p a l a ces/ hei d eck sb u r g - p a l a ce- i n - r u d o l st a d t.ht ml
Surfac e
Research Similar to light, sound can also be diffused on an uneven surface. Imagine how a fogged mirror or a piece of matte paper scatters light reflection. Just as a how a diffused light from a matte surface is pleasing to the eye, a diffused sound is pleasing to the ear.
The sound reflection is diffused by the unevenness in the surfaces full of ornamentations. The wall carvings scatters sound reflection and reduces harsh sound glares. The ceiling
Ceiling cornice reduces complex sound reflection which is caused by sharp corners
cornices also reduces complex sound reflections caused by sharp corners. A highly ornate interior such as the Heidecksburg Palace Banquet Hall in Rudolfstadt, Germany result in a intimate acoustics with very little reverberation.
The Heidecksburg Palace Banquet Hall in Rudolfstadt, Germany is one of the common performance spaces during the Baroque period in music history, other than the highly reverberant churches. The old royal banquet halls frequently held solo performances, featuring fast tempo and technically difficult passages. The intimate acoustic characteristic of the such highly ornate interior is perfect to showcase the virtuosity of the soloists.
Uneven surface scatters sound reflection and help to create a diffused sound field which is pleasing to the ear.
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Experiment The experiment involved making a series of “soundboxes” with one uncovered opening and another with a small opening. The “soundboxes” have different interior surfaces, ranging to smooth to highly textured and uneven. The effect of the surfaces on acoustics is studied by putting a sound source at the small opening and ear placed at the uncovered opening to listen to the change in sound.
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A “soundbox” with smooth surface serves
The surface of this “soundbox” is fitted
as the control to compare with other
with corrugated paper. The textured
“soundboxes” to identify the differences.
surfaces make the sound less glaring compared
to
the
smooth
surface,
resulting a more pleasing listening experience.
A reflecting plane helps to bring the sound
This “soundbox” has added “columns” to
“closer” and improves clarity. The result is a
further increase the surface unevenness.
more intimate listening experience. However
The result is a even more diffused and
harsh glares is detected and sometimes
pleasing sound but with reduced clarity.
unpleasant.
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P arma Theatre, Farnes e, I t a l y So urc e: https ://c o mmo n s.w i k i med i a .o rg / w i k i / F i l e: P a rma - tea t ro - fa rn ese- i n - n a ti o n a l - g a l l er y.jp g
Mat er ials Research Different materials absorb and reflect sound differently. Generally soft materials absorb while harder materials reflects. However, the absorption coefficient of materials is not linear. In Sabine’s early experiement testing the absorbing power of wood, he discovered there are peaks in different frequencies. Those peak in absorbing power is the resonance phenomenon, where the frequency of the sound matches the natural frequency of the material and caused the material to vibrate itself when in contact with the sound.
Wood has always been the widely used material that improves acoustical quality due to it resonating with the human voice and improving speech intelligibility. Wood is widely used since the old Parma Theatres when the stage and seating are both mainly made of wood. The ancient Romans were acquainted with the value of wooden construction is shown by a statement of Vitruvius. He advises the omission of the resonators used by the Greeks, “since all public theatres built of wood have many floors, which are necessarily conductors of sound.” However, the excessive use of wooden linings may produce too much resonance, especially if the air-space of a hall is of such a form as to aid in the effect.
Sa bine ’ s e a r ly e x pe r ie m e nt te s ting t h e a bs o r bing po we r o f wo o d s h e a t h ing. T h e uppe r c ur v e s h o w a po int o f r e s o na nc e a t t o ne C 3 ( m iddle C ) a nd po s s ibly a no t h e r po int o f r e s o na nc e in muc h h igh e r t o ne . So ur c e :
Sa bine , 1902
Draperies, foams and carpets are frequently used to absorb sound to reduce excessive reverberation. However, they are often misused today as higher frequencies are more readily absorbed, causing the acoustics of a space so dead it is not comfortable to speak in it due to lack of spatial feedback. Therefore, it is important to understanding the characteristic of each materials to be able to predict the acoustical quality and avoid acoustic deficiencies. 19
Experiment The second serious of “soundboxes� manipulates the materials of the boxes themselves. The materials used, from hard to soft, are aluminium, PVC, greyboard and cupboard. Each soundbox is made of the exact dimension to reduce variables. The behaviour of light within the boxes gives us an analogy of how the sound behaves within.
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Aluminium generates the most harsh
The
greyboard
presents
the
most
sound and among the “soundboxes” with
balanced sound with enough diffused
unpleasant high frequencies and glaring
sound with adequate clarity.
sound.
The cupboard exhibits the most pleasing
The PVC sounds clear with a hint of
and “warmest” sound. However, it is also
unpleasant glares. It presents the most
the least clear among the “soundboxes”.
clarity without sounding overly harsh.
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Co nc ertgebo uw , Amsterda m So urc e: https ://w w w.co n cer tg eb o u w .n l / en /
Room V olume
Research As music progressed from Baroque to Classical and to Romantic period, the concert
The increase in room volume increases the distance in which the sound travels before
halls generally increased in size to accomodate the increasing number of audience.
reflecting back, therefore increasing the reverberation of the room.
The increase in the internal volume increases the reverberation of the concert hall. The music composed during the Romantic favoured a single melody with huge complex orchestral harmonics; in others a number of melodies interweave, their details only partly discernible in the general impression of sound; and even in some other musical passages where no melody seems to emerge, only an outpouring of sound, perhelps rhythmic and dramatic, often expressive or emotional. The music from Romantic period contrasts greatly from both Classical and Baroque period which often let the audience to be able to discern separate melodies and parts.
Many renown concert halls today that still live today are built during this period. The Concertgebouw, Armsterdam is one example of a huge concert hall can that accomodate up to 2,000 people compared to the Classical concert halls which only accomodate up to 400 people.
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Experiment The next experiement is conducted with me playing the Prelude from Bach Cello Suite No. 1 in differently sized rooms in the university campus: a small discussion room, a medium classroom, the design studio and a lecture hall. There were two participants in this experiments to provide feedback and the playing is recorded. However, the recorded playing can never capture the actual experience of listening live and thus the same experience can never be reproduce. The outcome of this experiment can only be relied on the realtime feedback.
The playing in the lecture hall is used as the control to compare with the other spaces. The lecture hall has the most appropriate acoustical quality for speech and music it is set as the control to be compared to the rest of the experimented spaces. L ect u r e ha l l w i t h semi - ci r cu l a r i n teri o r a n d cu rv ed b a ck w a l l
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The small discussion room sound the
The music sounded more distinct and
most intimate as the room is the smallest.
less overwhelming, and each note played
However, the flat surfaces caused a lot
is more distinguishable. The sound of the
of sound reflections and therefore the
cello is slightly muted due to the sound
music sounded loud and muddy.
Smal l di scu ssi on room w ith furniture in plac e
absorption by the carpeted floor.
Cl a ssr o o m w i t h so me fu rn i t ur e
With the furniture cleared, the music
The cello sounded even more distant and
sounded a little clearer due to the increase
soft but every note is still distinguishable.
in direct sound with a slight increase in
The exposed ceiling of the studio
loudness. The music sounded even harsher
prevented any sound reflection from the
compared
ceiling. The music sounded so distant
to
the
previous
furniture
configuration.
and dull that it is no longer engaging and enjoyable.
Smal l di scu ssi on room w ith furniture c leared
S t u d i o w i t h mo re fu r n i t u re
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Source :
E rman n, Mic hael, A rc hitec tural
Acoustics Illus trated, (Wi ley, 2015) pg. 10 9, 110, 111, 102, 75
These scans show simple design principles for avoiding acoustic defects as well as guidelines for designing room for both speech and music. The design of the project, especially the Recital Hall, is heavily informed and rationalised by the design principles shown here. 27
L esso n S t u d i o
Li g h t Court
S o u r c e : https://www.archdai ly.c o m/778881/to ho gakuen-sc ho o l-o f-mus ic -ni k k en - sek k ei
B a semen t L esso n R o o m
Case Study 01
Tohogakuen School of Music, Tokyo, Japan - NIKKEN SEKKEI The Tohogakuen School of Music by NIKKEN SEKKEI is a good case study for the project as it shares a similar programme and a scale that is not too big compared to the project site. This project shows clever use of limited space and optimization of site footprint, a staple of a great Japanese architecture.
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The conceptual diagram shows the breaking down of the rigid spatial planning of a typical building and rearranged the spaces as individual boxes. The breaking down of studio boxes also allows natural lighting to penetrate to every studios. The play of boxes also make the studios to be seen as individual “stages�, enchancing the visual experience. Moreover, separating the studio rooms also ensures good acoustic isolation between the studios. The separation of studios creates nodes of public spaces for in between the studios for social interaction.
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The detailings found in this project show great consideration for acoustical quality. The interior of the studio spaces is furnished with a sound dispersion layer made of timber panels on the wall. The floor has a layer of vibration isolation material to prevent sound from transmitting to adjacent spaces through the building structure. The ceiling is made of wood wool cmenet board to both resonante with sound as well as further isolating the vibration from above the slab.
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M a i n En trance
Stage
Case Study 02
No Black Tie Jazz Club Bar, Kuala Lumpur, Malaysia No Black Tie Jazz Club Bar in Kuala Lumpur, Malaysia is a bistro bar that frequently holds various performances. It is a performing spaces transformed from a typical narrow shophouse. Despite the challenger topography, No Black Tie Jazz Club manages to achieve good acoustics that provides good listening experience to both the audience and performer. The narrow nature of a shophouse ensures adequate lateral reflection, however sound is difficult to be transferred to the furthest part of the space due to the long narrow shape of a shophouse. The walls at the stage is slightly splayed to direct early sound reflections towards the back. The walls of the shophouse is also furnised with timber to promote sound resonance throughout the space thus improving sound clarity.
R o ugh s k e tc h s h o wing la te r a l s o und r e f le c tio n
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C u r v e d c e i l i n g to di re ct soun d to 2nd Sto rey
M echa n i ca l v en ts recessed i n t o t he p l a ster cei l i n g t o red u ce n o i se
Another challenge that the shape of a typical shophouse poses is the low ceiling height in 2nd storey space. The 2nd Storey floor slab is deep to maximise available footprint, but the downside to that is that sound is difficult to reach the back of the deep 2nd Storey space. To combat the situation, the ceiling at the stage is curved to direct sound reflection towards the 2nd Storey space, ensuring adequate loudness to the audience on the 2nd Storey.
The plaster ceiling also helped to somewhat block the noise from mechanical ventilation by having a recess area for the vents.
R o u g h sk etch sho w i n g v erti ca l so u n d r efl ecti o n
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Desig n Proc e ss and D e ve lopme nt
From Micro to Macro The 2nd Storey of Khoo Academy is developed first due to the contrain of the tight spaces. Using the same method that NIKKEI SEKKEI used to design the Tohogakuen School of Music, the studio spaces is broken down and randomized to create interaction nodes in between the studio spaces. The studio space corners are also chamfered to both increase the area of the interaction node as well as reducing complex lateral sound reflection caused by the sharp corners.
Appropriate design considerations for acoustical purpose is developed when designing the 2nd Storey because it holds the most strict and formal function of education purpose. The design details developed from 2nd Storey is then used to inform the overall design for the entire space to achieve design coherence throughout the whole project.
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The Studios are classified into 3 sizes: Large sized studios to accomodate group practices as well as group lessons that are able to fit two grand pianos; a Medium sized studio to fit a grand and an upright piano for usual piano lessons; and a Small sized studio for personal practice 0
1
5M
spaces or string instrument lessons that do not require a grand piano. 39
The sketches show the development of the Studio in section. The interior design elements which are benificial to room acoustics such as ceiling cornice, coffered ceiling and wall ornamentations are blended together into a single design motif. The developed design motif is a layering of plywood from the wall into the ceiling on a curve. In acoustical design, the ceiling is usually the first interior design element to be considered as the ceiling takes up a huge percentage of the overall surface area of an enclosed room. The sharp corners will be eliminated through the layering motif and thus blurring the boundary between the walls and the ceiling.
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gap fo r rec es sed lighting
sp a ce fo r mecha n i ca l v en ti l a ti o n
glazing
c ur t a in
Sec tio nal P erspec tive o f a Medium Studio
S ecti o n a l P er sp ecti v e o f a Sm a ll St udio
The design motif allowed for adequate space to hide mechanical ventilations to
The design motif also allow the curtain railing to also be hidden within the ceiling
reduce mechanical noise and thus improve acoustical quality of the studio. HVAC
cornice. The presence of curtain allows the user to vary the reverberation of the
as well as lighting can be integrated into the “steps� of the design motif. The gap
studio. Drawing the curtain out covering the glazing reduces the reverberation of
created on the enxterior also poses a possible integration of recessed lighting
the studio and thus creates a more intimate acoustics for lesson purposes. Vice
for the corridor.
versa, drawing the curtain back exposing the glazing will increase the reverberation, simulating a more immersive acoustic similar to a recital hall. Exposing the glazing also allows visual connectivity.
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door
recessed l i g hti n g
n a t u r a l ligh ting po te ntia l
tabl e and she l ving
benc h
Detai led Sec tio n o f Des ign Develo pm ent
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The design motif is developed further and applied onto the exterior of the
Various furnitures are also to be designed with the same motif, blending them
Studio as well, making Studio as a self-supporting structure. The distinction
into the walls and into the ground, creating a coherent design through out the
between the walls and the ceiling disappears as the Studio becomes an
space. The location of the recessed lighting will help to accentuate the lines of
individual “pod�, separated from the main structure of the shophouse.
the layering motif on the exterior of the Studio pods.
This is a impression sketch on how the studio “pods” would look like. The music radiating from the studio rooms would fill the corridor, immersing the users in a sea of sound before entering a studio for either lesson or self practice. The sound from other studios would not be treated as “noise” as it only fills the corridor space as the corridor space is not designed for long conversations to take place. Students will be motivated by the presence of their peers playing music in other rooms before entering a studio. Conversations and new interactions may even start when a student hears another person plays the same piece of music and decides to visit the other student. The 2nd storey becomes a space for constant discovery for the students
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W a i ti n g L o d g e
C la s s r o o m
D o uble V o lum e C o r r ido r
Human Circulation The circulation in the 1st storey is divded into two major paths: one for the students and parents while another for the public. This is designed to keep the sounds generated from two different demographic separated. The path for the students and parents leads to the Waiting Lodge and the Double Volume Corridor before reaching the Library. The Double Volume Corridor is designed to be filled with natural lighting as well as the sound generated from the Studios from 2nd Storey.
The other path leads to the Showroom, Luthier Workshop and lastly the Recital Hall. The Classroom opening is facing this path so that it can be it can also function as seminar room for the public as well. Moreover, this path is likely to have the busier traffic with interaction between people primarily in the foyer before entering the Recital Hall.
The shapes of the spaces will also be chamfered for both acoustical purpose as well as maintaining coherent design motif with the Studios on 2nd Storey. S ho w r o o m / S ho p
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R e c it a l H a ll
Lut h ie r Wo r k s h o p
Libr a r y
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2
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5
1
6
7
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1
E ntran ce / Showro o m
2
W ai ti ng L odge
3
C l assroom
4
D ou bl e Vol u me Library
5
Admi ni strati on O ffic e
6
R e ce pti on an d F o yer to Rec ital H all
7
L u thi e r W orksho p
8
R e ci tal Hal l
0
1
5M
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This is an impression sketch of the Waiting Lodge. The seating is curved in a way that it leads the users to other spaces such as Library and 2nd Storey. The ceiling of the Waiting Lodge is to have ceiling baffles to reduce sound reverberation as much as possible as it is a place for spontaneous conversation between parents while waiting for their children. The ceiling baffles will also help to reduce the sound transmitted from the studios from 2nd Storey so that it does not become noise hindering conversations.
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This is an impression sketch of the Double Volume Library. The sapce allows natural lighting to penetrate into the tall void, creating a contemplative atmosphere. The space will be filled with the sound radiating from the Studios on 2nd Storey however the sound will be heavily diffused with no clarity. Similar to how diffused light fill a space, the Libray space will be filled by sea of diffused sound, increasing background sound level just enough to ensure acoustical privacy without being unpleasant.
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Final D e s i gn O u tc o m e The final design outcome features a mix of curve and straight lines. The design is inspired by many of Enric Miralles’s designs where he creates mesmerizing form through a mix of curve and straight lines, forming various geometries that intertwine. The final design outcome seeks to emulate the continuous flow of circulation throughout the space.
The mix of curve and straight lines are also developed from the geometries found in various musical instruments such as the piano and the violin. The design of the spaces would appear to be an extension of the musical instruments instead of contrasting with them.
1 st Store y C i rcul ati on Sketc h
E n ri c M i r a lle s ’ s Sk e tc h S o u rce: h t t ps : / / www. m e t a lo c us . e s / e n/ ne ws / pa pa - v ie nt - j o ue r - c h e z- m o i- e m bt
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The use of curve and straight line makes the Studio stands out even further from the structure of the shophouse. The Studios now have an organic shape and conforms to the human circulation in between the Studios. The corridor is now appears to be even more randomized like a labyrith to further promote interactions and conversations in the intersections.
The 2nd Storey also have a small foyer upon entering the upper floor of the Recital Hall.The corridor spaces are designed so that they convege to the foyer. The door of the Studio is placed strategically so that no two Studios share the same intersection to avoid congestion.
2 n d S t o r ey Ci r cu l a ti o n S k etch
G e ometry o f a V io lin “ F� H o le Sou r c e: http://w w w .luth.o rg/bac k_is sue/al073-0 7 6 / a l 0 7 6 .ht ml
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4
2
5
3
1
7 6
8
50
1 s t S t orey Scale = 1 :1 5 0
1
Ent r a nc e F o y e r / R e c e ptio n
2
Wa iting Lo dge
3
C la s s r o o m
4
D o uble V o lum e Libr a r y
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A dm inis t r a tio n O f f ic e
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Sh o wr o o m
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Lut h ie r Wo r k s h o p
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R e c it a l H a ll
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9
9
9
9
9 9
9
9
0
9
Stu di o
0
Soun d C ontrol Ro o m / P erfo rmer’ s Lo dge
2nd S tore y S c al e = 1 : 1 5 0
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a d j a c e n t shop l ots
a dj a c e nt s h o p lo ts
Sec t ion A- A Scal e = 1 :1 0 0
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Sec t i o n B -B Scale = 1: 100
53
As mentioned in the design process, the Entrance, Waiting Lodge and Showroom has ceiling baffles to minimise sound reverberation
to
ensure
acoustical
comfort even with heavy traffic. The ceiling is designed to lead movement through the spaces.
The tables at the Library are positioned under a ceiling so that the space has adequate intimacy while allowing the sound from the Studios on 2nd Storey fill the space, increasing the background sound level to also promote privacy.
The
Showroom
spotlights
to
is
equipped
showcase
with
instruments
placed on the stage for sale.
1st S tore y Re fle cte d Ce iling Plan 54
Sc a l e = 1 : 1 5 0
0
1
5M
The lighting in the corridor is designed with both strip lighting and downlight to lead the movement around the space. Downlights are placed at junctions where there are likely to be interactions and conversations.
2nd S tore y Re fle cte d Ce iling Plan S c al e = 1 : 1 5 0
0
1
5M 55
S cale = 1: 100
ht tlig spo
ht tlig spo
S e ct i o n B - B : A c oust ic Consider at ions
Featured Space of the Project The Recital Hall embodies the fruits of the research and experimentations done for
The main goal of this project is to achieve both acoustically and aesthetically pleasing
this thesis project. Designing a performing space is never an easy task as there are
design. However, neither complex calculation nor computer simulation is used to
considerable amount of technical requirements to achieve for the space to function
achieve the design. The aim of this thesis project is to show that acoustically pleasing
properly. One requirement that is particularly challenging is ensuring visible eye
design can be achieve based solely on fundamental understanding on sound and with
sight for all the audience. Therefore the height of the seating is carefully designed so
adequate precedent studies.
that even the audience sitting at the back is able to see the stage properly, even in a shophouse structure that has low ceiling height.
The proportion of the stage to the number of audiences may be off when compared to the usual recital or concert halls. This is because Khoo Academy of Music and Arts is primarily a music school before a performing space. The site holds performances that features their own students with mainly the parents as the audience. The aim of the Recital Hall is to allow the students performing opportunities to gain enough experience before performing in an actual recital or concert hall. Thus the stage is larger to accomodate group performances up to 30 people including the balcony behind the stage which the choir members can stand and sing from.
57
D et a i l 2
Detail 5
Detai l 1
Detail 4
Section A-A
D et a i l 3
Aluminium Baffles t= 15mm LED Downlight d= 150mm
De t a i l 1 S c ale = 1: 25
Recessed Strip Lighting Wood Wool Cement Board t=15mm Plaster Board Plywood Board t= 12mm Plywood Support Steel Frame Sound Insulation Layer
Carpet Flooring t= 15mm
ALuminium Frame t= 20mm Curtain Rail d= 50mm
Curtain
Laminated Glass t= 12.5
Base Layer t= 15mm Vibration Isolation Membrane t= 20mm Recessed Strip Lighting
Det ail 2 Sc a l e = 1 :2 5 59
Recessed Strip Lighting
Strip Lighting
Plaster Board
Wood Wool Cement Board t=15mm Plaster Board
Sound-diffusing Wall
Carpet Flooring t= 30mm Timber Decking t=30mm Timber Deck Support System
Plywood Flooring t= 15mm Base Layer t= 15mm Vibration Isolation Membrane t= 20mm
D et ail 3 Scale = 1 :2 5 60
Integrated Book Shelf LED lighting
Galvanized Steel "I" Beam 100x200mm Galvanized Steel "C" Beam 100x200mm Galvanized Steel "I" Beam 60x100mm
Recessed Strip Lighting Plaster Ceiling Cornice Timber Support Plywood t= 10mm
Welding Connection "L" Bracket w. Bolt and Nut Connection Plywood t= 10mm
Timber Support Recessed Strip Lighting
Timber Support Recessed Strip Lighting
Aluminium Handrail Plaster Layer Balustrade
Plywood Flooring t= 15mm Base Layer t= 15mm Vibration Isolation Membrane t= 20mm
Det ail 4 Sc a l e = 1 :2 5
Timber Core Plywood Flooring t= 15mm
Timber Diffusion Layer
Base Layer t= 15mm Vibration Isolation Membrane t= 20mm
Recessed Strip Lighting
Galvanized Steel "I" Beam
D e tai l 5 S c al e = 1:25 61
62
Entrance / Reception / Showroom / Classroom
Double Volume Library
63
64
Studio Exterior
Studio Interior
65
66
Recital Hall