Spatial composition: from the pinball machine. Different types of space have their own acoustic qualities.
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@tdpoeticdesigns
Spatial composition: from the pinball machine. Different types of space have their own acoustic qualities.
WIP - Defining the ideal spatial conditions for spoken words. The relationship between sound and materials is represented as particles, showing reflective & absorbent surfaces.
Future Representation renders
Recording of Chladni experiment (on 3mm card)
WARNING: TURN OFF/DOWN YOUR VOLUME
Jury 06 - 14.11.18
Studio feedback:
Important for cross crit
Site plan with context
100-word project abstract
3 A1 perspectives at three different times
Personal feedback:
Use the experiment with fabric to understand the material and convey it in the model
Get the form from fabric experiments
Think about fabric as an outdoor/weatherproof material (composite felt?)
How is your building touching the ground?
References:
Elephant Houses @ London Zoo (construction method)
Patkau Architects
Future Rep feedback:
Make the drawing softer: walkways are too heavy, add curves to openings
Wall thicknesses not visible enough
Roofs can be domes
Can add features like hanging curtains, knitted walls.
Each surface can be a different texture of fabric. Capturing the visuals of fabric is important.
Add stitching patterns as a construction feature
Colours are good
The three views:
Bird’s eye view of building in context, cut away (no roofs)
Oblique view of building showing a relationship to the context, with the church as a focal point of the context (with roofs)
An internal view
References:
Dean Pike Camden Market
Mark West (for rendering aesthetic)
Jury 05 - 07.11.18
Presentation:
What: a sanctuary of the mind - an acoustically simulating building that links the busy New Bridge Street to the quite oasis of St Bride’s Church area
Where: Fleet House (where Perkins + Will architects’s scheme for a new office building is based)
When: Wren’s time - Present
Who: St Bride Foundation - contemporary poets, writers and literature performers
Why: The area around Fleet Street has a long history of the written words (printing schools, journalism, legal quarter). I want to pay tribute to that by adding the spoken words
How: A space for a writers/poetry society, where people have space to create and perform their pieces. Maybe an expansion of St Bride Foundation building.
Site intentions:
Replacing the current Fleet House (that will soon be replaced by an office building)
A transitional space between the loudness of New Bridge Street/City Thameslink train station & the quietness of St Bride’s Church.
A link between St Bride’s Church & St Paul’s Cathedral.
An ‘official’ introduction to the St Bride’s Church area & St Bride Foundation building
Christopher Wren’s vision:
Connecting the cathedral & the church
Open civic spaces
Turning the old Fleet into a Venice-like canal
Personal feedback (future rep tutorial):
Move the Wren axis to focus on the chosen site.
Orange highlight not working.
Consider the architecture of ‘layering’ - to reflect the different sound conditions in the building.
Make physical models testing out different materials (felt, fabric, concrete etc) e.g stitched windows on 3D-printed shape/concrete cast, melt plastic into shape. Explore folding & organic shapes
Keep it small.
Try to relate the 3D model to the site context
Make the building a transitional buffer, perhaps even wrapping around the church. The interior and be broken into layers/moments. People’s activities can transform the space?
Work on top of the 3D model, consider material thickness
Document the Chladni experiment systematically, even the mistakes. Do a series of iterations.
References:
Pompidou felt room
The section of a car/gun silencer
Camden Market Council fabric building
Doh Ho Suh - knitted house
Ele Mun from the AA - layering of fabric
survivinglogic.ca
Thompson Ramsgard - Robotic Textile
Braille writing
3D models of Chladni Plate patterns (in progress)
Chladni experiment progress - Prototype 1
Progress pictures of the first structure. I was able to produce shape at 600 Hz, however, it does not form as clear at higher frequencies. This requires a revision of the speaker used and the amplifier.
Next week will see the experiment with a new speaker and a concept of prototype 2′s structure.
Initial concept of the Chladni experiment structure
A systematic study on Sound
What is sound?
Sound is a kind of energy created when something vibrates.
Amplitude: loudness of sound
Frequency: the pitch of sound
Reverberation: reflected sound wave that reaches your ear in less than 0.1 second after the original sound wave.
Echo: reflected sound wave that reaches your ear more than 0.1 second after the original sound wave.
What is good sound?
Reverberation: different reverberation time affects quality of spoken words/musical instruments, e.g shorter reverberation time results in clearer speech.
Spaciousness: is the sound is open or closed
Clarity: is the sound clear or diffuse
Loudness: is the sound is loud or soft
Fullness of timbre: is the sound thin or full
Brightness: is the sound bright or dull
Localisation: is the sound coming from the right or wrong direction
Echos: does the sound echo
Reverberation tail/ ringing tone: if there are audible tones in the reverberant sounds
Naturalness: if the room acoustic sounds natural or artificial
The branches of architectural acoustics
Room acoustic: concerning the performance of speech and music
Noise control: reduce the effects of a potentially disturbing sound source and the listener
Speculative acoustic: the design of sound reinforcement and enhancement systems uses electronic equipment to improve the quality of the sounds heard in rooms.
The Sabine equation
Used to predict reverberation time
T (reverberation time) = 0.16V (volume in metres) /S.a (sum of all absorption)
a = absorption coefficient of material
S = total absorbing surface area of room
Materials and sound
The harder the surface, the more sound bounces off of it (reflect)
Soft or open surfaces absorb sound
Types of sound absorbant materials:
porous absorbers: fiberglass, mineral fiber products, fiberboard, pressed wood shavings, cotton, felt, open-cell neoprene foam, carpet, sintered metal, and many other products
panel absorbers: nonporous lightweight sheets, solid or perforated, that have an air cavity behind them, which may be filled with an absorptive material such as fiberglass
resonant absorbers: lightweight partitions vibrating at their mass-air-mass resonance or they can be Helmholtz resonators or other similar enclosures, which absorb sound in the frequency range around their resonant frequency. They also may be filled with absorbent porous materials.
Table of different materials’ absorption coefficient
Elements that affect sound in outdoor environment
Source geometry and type (point, line, coherent, incoherent)
Meteorological conditions (wind and temperature variations, atmospheric turbulence)
Atmospheric absorption of sound
Terrain type and contour (ground absorption of sound, reflections)
Obstructions (buildings, barriers, vegetation, etc)
The shape of sound is the shape of the precisely designed environment that facilitates the best sound.
Loudspeaker Concert 10.10.2018
CONCERT
Simon Emmerson
Theme: Malleability of memory & recorded sounds
Setup: 8 loudspeakers which work in slightly different way. Pairing speakers at the same position upstairs & downstairs with the same sound, but alternate it so sound moves upwards
1st piece: Memory & Machine
Sound designed to run continuously in a loop as people wander in the space
Memory theater
Using memory in a special way
Resonances : memory of music listened. Snippets of music tie into it
2nd piece: Aolis
Based on 4 flutes
Based on the Odyssey
Flute piece but made in the studio
Carla Rees
Solo flute quartet: a soloist playing 4 flutes
Trying to create cours - more than 1 note at a time
Student work
Mixing two types of music
Representing the gap between pop music & background noise
Andrew Hill
Recordings of an abandoned factory
SOFTWARES
Walter (2nd year student)
Vst reverb (vst is virtual instrument)
Reaper - digital workstation
Jeremy (Acoustic Consultant)
Catt- sketchup: software that models sound in real-space, based on your 3d model
Acoustic cameras
Hackoustics (instrument makers)
Andrew Hill
Reverb plugins:
Altiverb
Flux IRCAM TOOLS Verb
To extract the natural sound of a place: record the sounds within the room then play it back into the space, record it again. Audio engineering software will be able to eliminate activity noise, leaving behind the ‘true sound’ of the space.
Sketches showing ideas of imagining space from sound & the concept of an acoustic chamber.
Visit Coil Musick on facebook and share. Thanks. Coil -- Lost Rivers Of London Subtitled "Joyful Participation in the Sorrows of the World". Lyrics By [Part ...
St Alfege Church visit 04.10.18
Attended: 1.05pm, Recital: Trinity Laban, Jinah Shim, piano
Music by Bach, Hindemith, Mozart, Debussy
Guide: David
Anglican parish church
Medieval origin
Rebuilt in 1712 to the design of Nicholas Hawksmoor
Acoustics:
Built to amplify the spoken words (used for scriptures & sermons). Designed to be an acoustic church.
You can speak in a normal voice (no projection) and it can be heard everywhere within the church
The ceiling is completely flat, which contributes to the church’s acoustic qualities.
Even after the war, the acoustic qualities didn’t change much due to plaster still being used as material.
It doesn’t have too much reverberation, so the music can have some clarity. However, the music doesn’t extend to all corners of the church equally like the voice does, but mainly focus at the front (close to the stained glass)
You cannot hear the bell inside the church (unlike other churches) because the main church isn’t attached to the bell tower.
Architecture:
Architect: Nicholas Hawksmore, woodwork: Grinling Gibbons, ironwork: Jean Tijou
The only church that doesn’t have pillars to support the ceiling.
The ceiling is flat and suspended from above by huge wooden trusses & strengthening cross-beams connected to the dome.
When it was built, it was the largest unsupported ceilings in Europe
The original ceiling was lath and plaster (plaster pushed through a wooden skeleton). After the war, it was rebuilt with casted plaster reinforced with horse hair. Now the ceiling is supported by steel beam
Ceiling is plaster, floor is limestone, interior is wood. The walls inside are bricks, the outside is cladded in limestone.
Stained glass was newly made (after the war)
The Crypt:
Hawksmoor used a huge piece of stone to cast a modest entrance
The crypt was built with brick, which is an indication of the church’s material
Originally designed to be a social & educational space. Hawksmoor specified for it to not be used as a burial space, but due to the seeable profit, it became burial grounds anyways. £1 for individual burials, £5 for family vaults (quite expensive)
Floor, originally 1-1.5m lower. However, they started to use it for burials almost immediately after construction, so bodies were put on the ground and floor was raised to cover them. Before modern concrete was poured, bones stuck out on the floor.
Was used as an air raid shelter during WW2
Originally, all arches would be open, it is an open space area. However, upon it becoming a burial ground, arches was blocked in to create narrow tunnels.
Early 19th century, the government stopped burial in all churches.
Heating & Ventilation are from WW2 era.
Medieval tower:
The outside (limestone cladding) & inside of the tower was connected by bolts (iron bolts from medieval time), which go through wooden beams that hold things together. John James baroque architecture.
Reference:
St Nicholas Church in Deptford, by Christopher Wren. He used this as a practice for the dome design which will later be used for St Paul’s Cathedral. Thus, this is a smaller dome. This is usually linked with St Paul’s Deptford, by his student, Thomas Archer. The crypt here is of original height & has been cleared to be used for disco parties & events.
The 50 New Commissioned Churches, which are all modelled after St Alfege’s acoustic properties. Modeled on the same dimension of 2:3
University of Greenwich did a complete digital scan of the church
Jury 01 - 03.10.18
Presentation:
What: sound → acoustic architecture
A sanctuary
Where: Blackfriars (Victoria Embankment)
Why: To bring back a remnant and peacefulness of the Fleet
Who: x
When: x
How: By using sound to recreate an experience/ certain atmosphere
Using different acoustic elements like resonance, reverberation, dampening
Studio feedback:
Start to communicate in architectural language
Start designing as soon as possible
Layering of information
Start to carry out simulations
Determine tool of measurement and how to measure/calibrate (what)
Work in two different scales
Answer the questions: what where why who how when
Personal feedback:
Once found an area of interest, consider types & thickness of material. Relationship between each other, to the road, to the water, as they all have different reverberation rates → buildings are reflective of sound
Make a more detailed site model, how sound is reflected between facades, glass, windows. Morphic resonance.
Work on complex collages/models, instead of diagrammatic drawings. Show your empirical impression by communicating with an architectural language.
Site chosen is too difficult to do an acoustic project, not enough place to operate, acoustic confusion. Consider a pocket/corner along Farringdon Rd (little Venice)
Look at the Temple + Middle Temple garden
History of site, who built sth, what used to be there
Change in level
Reference: clear & rich → need to expand on it
Reference famous body of work by musician, poet, etc
Connection between st bride’s, st martin’s, st paul’s
Model material - reverberation rate. Model materiality of a section.
Oracle Chamber: angles reflecting sound → model it?
Look into Christopher Wren & him trying to recreate Venice (Wren water, sound, symbol)
St Paul’s designed in two stages, upper part floating on lower part
Be more complex & exact with geometry, do a 3d model
Precedents:
St Paul’s whispering chamber
Oracle chamber @ hal Saflieni Hypogeum
St Alfege’s church
References:
Bryan Cantley: drawings of St Paul’s
Andrew Hill: electro acoustic
Rupert Sheldrake: morphic resonance
Spiers Sonic Element
Christopher Wren series (volume 6)
Events to attend:
St Alfege’s Church concert (wed 10th). Every Thursday at 1 pm (different instruments). Find out how the church operates.
Meet-ups & lecture series at Greenwich (CPDA) - meet acoustic experts
Maritime building’s chapel free concerts
St Paul visit