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Sound at a Glance AAR: Augmented Acoustic Realities

Student : Qianhua Fu S u p e r v i s o r s : Pa u l B av i s t e r, F e l i x F a i r e

S ou nd S ou rce : I R Re c or d in g Si te : Phi l i ps Pa v il io n i n 2 01 9


Q | H ow d o yo u s e e s o u n d ?


Histor y of Acoustic Representation

T h e t h e a t r e s : i t s s i t e , fo u n d a t i o n s , a n d a c o u s t i c s , B O O K V, V i t r u v i u s , 4 0 B C


Visual Representation Sound Vibration

Chladni Patter ns 1701

Sound Wave

Manometr ic Flame 1862

S c h l i e r e n P h o t o g r a p hy 1859-1864


Visual Representation Sound t o Confined Shape

Archi tect ur a l Sound Photogr a p h 1920

Sound Intensi ty

Sound Contour s Graph 1913


Visual Representation

Fir st spectrog r aph inst r u men t developed at t he Bell Te lep ho ne lab or ator ie s

1945


Vir tual Acoustics S i mu l a t i o n o f t h e a c o u s t i c s o f a s m a l l c o n c e r t h a l l u s i n g t h e R ay A c o u s t i c s   i n t e r f a c e , 2 0 1 7


Vir tual Acoustic O ve r t h e l a s t d e c a d e s , w i t h t h e d e ve l o p m e n t o f c o m p u t e r s c i e n c e , p owe r f u l p r e d i c t i o n m o d e l s h ave b e e n d e ve l o p e d i n a r c h i t e c t u r a l a c o u s t i c s , w h i c h a r e u s e d fo r t h e c a l c u l a t i o n o f s o u n d propagation in door and outdoor scenar ios. Among these vir tual acoustic tools, Pachyder m has widely been u sed to simula t e a coust ics in building s, rooms , ci tie s , and oth er s e ttin gs. Howe ve r, like mos t simu lat ion t ool an d conver g ence algor it h m, its appl ic ation is limi ted on computer use r interface . In this project, Pachyder m is used a s t h e m ain approach to le ar n th e method of si mulation , and ex plore its possibilit ies of con str u cting vir t u al a coustic s pac e i n 1:1 s cal e .


R e s e a r c h i n Pa c hy d e r m

Ac ou stic M odel S et-up

R ay t r a c e A n a ly s e

Source

* C l i c k fo r A n i m a t i o n


R e s e a r c h i n Pa c hy d e r m

Impulse Response Feedback

Impulse Re sp ons e Calculation

Aur alization

Receiver

Acoust ic Simulatio n Receiver

63 Hz.

125 Hz.

250 Hz.

500 Hz.

1000 Hz.

2000 Hz.

4000 Hz.

8000 Hz.

Early Decay Time (EDT)

0.094

0.094

0.092

0.091

0.093

0.092

0.091

0.091

Reverberation Time (T-10)

1.858

1.872

1.819

3.788

1.799

0.085

3.536

3.569

Reverberation Time (T-15)

2.120

2.167

2.139

2.078

2.113

2.073

2.091

2.073

Reverberation Time (T-20)

1.227

1.225

1.239

1.441

1.223

1.430

1.361

1.364

Reverberation Time (T-30)

0.881

0.926

0.975

0.862

0.983

0.895

0.808

0.824


R e s e a r c h i n Pa c hy d e r m

What behind it ?

T h e s e m ay h e l p u s U N D E R S TA N D a c o u s t i c s p a c e s , but do they help us EXPERIENCE acoustic spaces?


Presentation in Unity I

Space

II

3D

2D

Time

*RT: the time required for the sound to “fade away� or decay in a closed space. *In physical space, RT is static. However, in virtual space, RT is fluid according to the space change. This series of exploration describe how RT could respond relating to the expanding space, geometry-changeable space, time-scaled space .

III


Presentation in Unity Par ticle system

(clo se to Retr acin g M eth od)

Au r ali zati on

Ac ou stic S imulation Receiver

63 Hz.

125 Hz.

250 Hz.

500 Hz.

1000 Hz.

2000 Hz.

4000 Hz.

8000 Hz.

Early Decay Time (EDT)

0.094

0.094

0.092

0.091

0.093

0.092

0.091

0.091

Reverberation Time (T-10)

1.858

1.872

1.819

3.788

1.799

0.085

3.536

3.569

Reverberation Time (T-15)

2.120

2.167

2.139

2.078

2.113

2.073

2.091

2.073

Reverberation Time (T-20)

1.227

1.225

1.239

1.441

1.223

1.430

1.361

1.364

Reverberation Time (T-30)

0.881

0.926

0.975

0.862

0.983

0.895

0.808

0.824

* C l i c k fo r A n i m a t i o n S p a c e s i ze : 6 M * 3 M * 3 M Sound propagation speed:3.41M/S


Benefits of AAR

Immersion 1:1 sc ale 3D model Fi r st per son per spective

Interactive Real-time response Multiple-sense exper ience


Philips Pavilion: A Case Study Metastasis and Philips Pavilion, Iannis Xenakis,1958


Philips Pavilion

L o u i s C . K a l f f f r o m P h i l i p s , L e C o r bu s i e r, a n d E d g a r Va r è s e In f ront of the Ph ilips Pav ilion, Br u ssels

1958


Philips Pavilion

Graphic score of Metastasis, Iannis Xenakis,1954

D e ve l o p m e n t o f P h i l i p s Pav i l i o n , S ke t c h i n F o r m a l i ze d M u s i c , I a n n i s X e n a k i s , 1 9 7 1


Two a c o u s t i c e nv i r o n m e n t s a n d t h e i r v i s u a l r e p r e s e n t a t i o n

* I n t h i s t wo a c o u s t i c s i mu l a t i o n , s p e e d o f s o u n d i s s e t a s 3 4 . 1 m / s ( 1 0 - s c a l e d t i m e s p a c e ) . RT i s s e t a s t h e l i fe o f p a r t i c l e s .


Compar ison of Two Pavilions

Environment

Time

Sound speed

Real

1958

341m/s

Virtual

2019

3.41m/s

Material

5mm Concrete 3mm Asbestos

5mm Concrete

State

Venue

Not exist any more.

It was destroyed one year after expo.

Stored in app. Be experienced as real.

Althoug h we have the power to reconstr u ct Philips Pavilion as it used to be , the new possibilities of thi s building without the limit of mater ial sounds more attr active . So in the final prototype , a Pavilion with concrete surface is chosen for its better acoustic perfor mance . This explor ation also demonstr ate our previous assumption: seeing sound and exper iencing it in full scale could aid us to make a better decision in design.


App end ix. So und Odyssey


Journey to be continued… “…music heard so deeply That is not heard at all, But you are the music While the music lasts.” Thomas Stearns Eliot, “Dry Salvages” Four Quartets

Student : Qianhua Fu S u p e r v i s o r s : Pa u l B av i s t e r, F e l i x F a i r e

S ou nd S ou rce : I R Re c or d in g Si te : Phi l i ps Pa v il io n i n 2 01 9

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Augmented Acoustic Realities  

Augmented Acoustic Realities  

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