Tonal Walks_MArch Urban Design_RC14_2022_B-Pro show by FAN LIU

THE BARTLETT SCHOOL OF ARCHITECTURE UCL MARCH URBAN DESIGN B-PRO, RC 14

MArch URBAN DESIGN

RESEARCH CLUSTER 14 TUTORS: ROBERTO BOTTAZZI, TASOS VAROUDIS, EIRINI TSOUKNIDA, VASILEIOS PAPALEX0POULOS, MARGARITA CHASKOPOULOU, TIN OBERMAN

TONAL WALKS CHAITALI BEDMUTHA 20155878 FAN LIU 20125194 YUXUAN LIU 21135683 RAVISHA RAJPUT 21172465

CONTENTS • RESEARCH OUTLINE • INTRODUCTIONURBANSOUNDSCAPESOUNDCOGNITIONPHYSICALSOUNDSTUDYENVIRONMENTALPERCEPTION SOUND STUDY DESIGN AIM • DATA OTHERSPACELONDONLONDONLONDONMULTI-SCALARCROSSINGAPPROACHSOUNDPROFILEEMOTIONPROFILECOLORPROFILESYNTAXDATASETS

TONAL WALKS 1.relatingadjective to tones of sound or color 2.(music) having a particular key 3.relating to the quality of sound of a musical instrument singing voice — Oxford & Cambridge dictionaries • DESIGN STRATEGY DESIGN METHODOLOGY AND STRATEGY ACOUSTIC TIMEDESIGNMATERIALSIMULATIONDEFININGDATAINTERVENTIONGEOMETRICEXPERIMENTACOUSTICSMATERIALACOUSTICSELEMENTSDRIVENELEMENTSGENERATIONTOPOGRAPHYGROUNDINSTALLATIONACOUSTICPANELZONESDRIVENTESTINGAPPLYINGVISUALIZATIONDYNAMICS • REFERENCES

INTRODUCTION

CAN SOUND WORK WITH URBAN OPEN SPACE TO RESHAPE HUMAN PERCEPTION AND ENHANCE LOCAL CULTURE?

Photo by: Kid Circus Free sourse in Unsplash

CITY OF LONDON HAS A GREAT HISTORICAL AND CULTURAL VALUE, HENCE RICH SOUNDSCAPE. THE URBANIZATION HAS LED TO BLURRING AND POOR ACOUSTIC ATMOSPHERE MAKING IT A PLACE OF INTERVENTION.

[SOUNDSCAPE] : A SOUNDSCAPE IS THE ACOUSTIC ENVIRONMENT AS PERCEIVED BY HUMANS, IN CONTEXT.

N LOW HIGH 4.5 9KM 0 9KM 0 9KM 0 9KM 12

[SOUNDMARK] : A TERM DERIVED FROM 'LANDMARK' USED IN SOUNDSCAPE STUDIES TO REFER TO A COMMUNITY SOUND WHICH IS UNIQUE, OR POSSESSES QUALITIES WHICH MAKE IT SPECIALLY REGARDED OR NOTICED BY THE PEOPLE IN THAT COMMUNITY. SOUND-MARKS, THEREFORE, ARE OF CULTURAL AND HISTORICAL SIGNIFICANCE AND MERIT PRESERVATION AND PROTECTION.

URBAN SOUNDSCAPE

Categories:Westminster1269-2022AbbeyChurchBellsReligionTags:church,bells River Tags:Categories:ThamesThamesNaturethames,river, ferry clock,Tags:Categories:BigBig1859-2022BenBenChimesUrbanbigben,chimes,tower Categories:FerryTower1894-2022BridgeHornTransportation, Urban Tags: ferry, horn, river Tags: cathedral, bells Categories: Religion Bells of St Paul St. Paul's 1675-2022Cathedral Tags: street musician, scottish music, metro Categories:stationStreet Professions Street Musician Tags: summer, festival, enjoy, music Categories: Festivals & Events Summer1637-2022HydeFestivalPark Tags: train, station, Categories:announcementTransportationTrainAnnouncementsPaddingtonStation1838-2022 ENTERTAINMENTNATURERELIGION & LEISURE FESTIVALS & EVENTS STREETURBAN CRAFTFOODTRANSPORTATIONSPORTSSTREETURBANFESTIVALSENTERTAINMENTNATURERELIGIONCRAFTFOODTRANSPORTATIONSPORTSPROFESSIONS&DRINK&LEISURE&EVENTSPROFESSIONS&DRINK 1.5 3 4.5KM 13

GOOD or BAD ? PHYSICAL“THESOUNDLISTENER IMMERSED IN A REAL ENVIRONMENT RELIES ON ALL THE SENSES TO STRUCTURE A REPRESENTATION OF THE ENVIRONMENT.” “A SENSORY MODALITY COULD ALSO PAY ATTENTION TO A DIFFERENT MODALITY, AND EVEN INFLUENCE THE SAME PERCEP-TION MORE STRONGLY. ” ——JOSEP LLORCA 14

FREQUENCY10000010000100010 220200180160140120100806040200 100 15

ENVIRONMENT PERCEPTION Weiyi Ma and William Forde Thompson. “Human Emotions Track Changes in the Acoustic Environment.” Proceedings of the National Academy of Sciences - PNAS 112.47 (2015): 14563–14568. Web. HUMAN EMOTIONS ARE A RESULT OF ITS PERCEPTION IN AN ENVIRONMENT. SONIC AND VISUALS OF AN ATMOSPHERE CAN CONTROL EMOTIONS. STUDYING HUMAN EMOTIONS CAN HELP US KNOW ABOUT THE ACOUSTIC AND VISUAL CHARACTER OF THE PLACE. Jonauskaite, Domicele et al. “Feeling Blue or Seeing Red? Similar Patterns of Emotion Associations With Color Patches and Color Terms.” i-Perception (London) 11.1 (2020): 2041669520902484.2041669520902484–Web. A. THE VALENCE BLOCK COLOR PATCHES - COLOR TERMS B. THE AROUSAL BLOCK VISUALAUDIO SOUND1SOUND1 2S PAUSE 2S PAUSE SOUND2SOUND2DISAPPOINTMENTCONTENTMENTAMUSEMENTPLEASUREINTERESTVISUALAUDIORELIEFREGRETDISGUSTCOMPASSIONSHAMECONTEMPTPRIDEADMIRATIONSADNESSHATEJOYLOVEGUILTFEARANGER HIGHER COLOR PATCHES HIGHER COLOR TERMS 16

DESIGN AIM

[VIBRATION]: IN THE REED-ORGAN, ONE OF THE REEDS BY WHICH THE TONE IS PRODUCED.

[EXCITER]: EXCITER THAT CAUSES THE INITIAL VIBRATION OR PROLONGS IT IN THE CASE OF MAINTAINED [RESONATOR]:SOUNDS.ANACOUSTICAL INSTRUMENT USED IN THE ANALYSIS OF SOUNDS, CONSISTING OF A CHAMBER SO FORMED AS TO RESPOND SYMPATHETICALLY TO SOME PARTICULAR TONE. IT IS USED ESPECIALLY TO DETECT THE PRESENCE OF THAT TONE IN A COMPOUND SOUND.

IT IS NOT PRACTICAL TO INTERVENE IN THE EXCITER AND VIBRATOR, SO THE DESIGNER CAN CHANGE THE URBAN SOUNDSCAPE BY CONTROLLING THE RESONATOR

THE PROJECT WILL COGNIZE URBAN AUDIO-VISUAL SPACE WITH PARTICLES AND RAYS

THE DESIGN AIM IS TO CONNECT URBAN SPACES WITH RICH AND VARIED AUDIO-VISUAL EXPERIENCES TO BUILD A MULTI-DIMENSIONAL PERCEPTION OF AN URBAN PEDESTRIAN SPACE.

——R. MURRAY SCHAFER

RESONATOREXCITERVIBRATION

DATA CROSSING

MULTI-SCALAR APPROACHSITE:MACRO-SCALESITE:MICRO-SCALESITE:MESO-SCALE INTEGRATION 2000 ROAD NOISE DAYTIME NOISE MAKING POINTS SOUND RICHNESS 22

SOCIAL MEDIA DATA

SOCIAL MEDIA DATA COLLECTION FROM FLICKR AND TWITTER USING THE EXISTING WORD DICTIONARIES BASED ON SOUND AND HUMAN EMOTIONS. THE DOMINANT CATEGORIES IN SOUND WERE TRANSPORT, HUMAN, MUSIC, INDOORS, MACHINE AND NATURE. THE GRAPHICS SHOW THE PERCENTAGE OF EACH SOUND CATEGORY IN THE CENTRAL PART OF LONDON. THE HIGHLIGHTED NOISE FOUND IN CENTRAL PART OF LONDON WERE TRANSPORT, WITH HUMAN MUSIC SOUND AT EQUAL AND NATURE AND INDOOR AT LOWEST.

THE SAME PROCESS IS FOLLOWED FOR HUMAN EMOTIONS WITH LOVE, SAD, JOY, SURPRISE, FEAR AND ANGER BEING ITS MAIN CATEGORIES. THE DICTIONARY COMPRISED OF BOTH NEGATIVE AND POSITIVE SIDES. LOVE IS THE MOST HIGHLIGHTED EMOTION WITH SURPRISE AND JOY NEXT. NEGATIVE EMOTIONS FORMED THE OTHER HALF OF THE GRAPH WITH ANGER AT THE LOWEST.

TOTAL SAMPLE NUMBER: 62046

FLICKR DATA WITH TWITTER DATA

THESE CATEGORIES ARE LOCATED ON THE MAP TO HAVE AN UNDERSTANDING OF WHICH EMOTION IS WITNESSED IN PRESENCE OF PARTICULAR SOUND. THIS FORMED ONE OF THE PARAMETERS TO FIND INTERVENTION AREAS.

TOTAL SAMPLE NUMBER: 187829

NATUREEMUSICE HUMAN MACHINE INDOOR TRANSPORT ANGER FEAR SAD SUPRISE JOYLOVE HUMAN SUPRISE INDOORTRANSPORTMACHINE ANGER JOY MUSICE INDOOR LOVE JOY INDOOR SUPRISE MUSICE HUMAN JOY INDOOR TRANSPORT ANGER SUPRISE INDOOR TRANSPORT FEAR SUPRISE SUPRISE INDOOR INDOOR JOYTRANSPORT SAD LOVE MACHINE INDOOR SUPRISE SUPRISE INDOOR INDOOR JOYTRANSPORT NATUREEMUSICE HUMAN MACHINE INDOOR TRANSPORT ANGER FEAR SAD SUPRISE JOYLOVE HUMAN SUPRISE INDOORTRANSPORTMACHINE ANGER JOY MUSICE INDOOR LOVE JOY INDOOR SUPRISE MUSICE HUMAN JOY INDOOR TRANSPORT ANGER SUPRISE INDOOR TRANSPORT FEAR SUPRISE SUPRISE INDOOR INDOOR JOYTRANSPORT SAD LOVE MACHINE INDOOR SUPRISE SUPRISE INDOOR INDOOR JOYTRANSPORT THE ELEPHANT AND CASTLE ST PAUL'S CATHEDRAL 25

SOUND PATTERN URBANHUMANTRANSPORTINDOORMACHINEMUSICNATURALFABRICNATURAL TRANSPORTSOUNDSOUND 26

1.5 3 4.5KM 27

EMOTION PATTERN URBANLOVEJOYSURPRISESADFEARANGERFABRICANGER EMOTION JOY EMOTION 28

1.5 3 4.5KM 29

COLOR PATTERN URBANBLUEGREENGREY FABRIC 30

1.5 3 4.5KM 31

SPACE SYNTAX

[INTEGRATION]: INTEGRATION IS A NORMALIZED MEASURE OF DISTANCE FROM ANY A SPACE OF ORIGIN TO ALL OTHERS IN A SYSTEM. IN GENERAL, IT CALCULATES HOW CLOSE THE ORIGIN SPACE IS TO ALL OTHER SPACES, AND CAN BE SEEN AS THE MEASURE OF RELATIVE ASYMMETRY (OR RELATIVE DEPTH).

INTEGRATION

CHOICE 500 CHOICE INTERGRATION2000 500 LOW HIGH LOW HIGH LOW HIGH 32

[CHOICE]: CHOICE MEASURES HOW LIKELY AN AXIAL LINE OR A STREET SEGMENT IT IS TO BE PASSED THROUGH ON ALL SHORTEST ROUTES FROM ALL SPACES TO ALL OTHER SPACES IN THE ENTIRE SYSTEM OR WITHIN A PREDETERMINED DISTANCE (RADIUS) FROM EACH SEGMENT.

CHOICE

INTEGRATION 2000 1.5 3 4.5KM 33

OTHERSUBJECTIVERAILNOISEDATASETSMAKINGPOINTSNOISEWELLBEING ROAD PUBLICNOISETRANSPORT ACCESSIBILITY CRIME 34

WORK HEALTHCULTURALPOPULATIONACTIVITYDEPRIVATION

TREE NUMBER

EE HOUSERATEPRICE 35

DATA ANALYTICS AND MACHINE LEARNING

IN ORDER TO FEED THE DIFFERENT KIND OF DATASETS TO MACHINE, DATA RESAMPLING METHOD IS USED HERE. WHETHER THE DATA IS POINT DATA, LINE DATA OR POLYGON DATA, IT CAN BE RECALCULATED AND ASSIGNED TO A GRID. THE GRID USED IS 200 M X 200 M. DATA CORRELATION TO UNDERSTAND WHICH DATA SETS WERE AFFECTING THE PRIMARY SOUND AND EMOTIONAL DATA SETS. THE DOMINANT ONES ARE LISTED BELOW WITH RESAMPLED MAPS OUT OF ORIGINAL GEO-LOCATED DATA. RESAMPLE LINES RESAMPLE POINTS RESAMPLE POLYGONS ROAD NOISE DAYTIME RAIL NOISE DAYTIME NOISE MAKING POINTS HEALTH DEPRIVATIONHOUSEPRICE PUBLIC TRANSPORT TRANSPORTATIONENERGYSUBJECTIVEWORKCULTURALACCESSIBILITYACTIVITYPOPULATIONWELLBEINGCRIMEEFFICIENCYRATENATURALSOUNDHUMANSOUNDMUSICSOUNDMACHINESOUNDINDOORSOUNDSOUNDANGERFEARSADSURPRISEJOYLOVETREENUMBERBUILDAREAWATERAREAGREENAREALOGCHOICE2000INTEGRATION2000 GRID OF MACRO SCALE 38

DATA DISTRIBUTION 40 ANGER TRANSPORTSURPRISEHUMANEMOTIONSOUNDEMOTIONSOUND FEAR MUSICLOVEMACHINEEMOTIONSOUNDEMOTIONSOUND JOY INDOORSADNATUREEMOTIONSOUNDEMOTIONSOUND

-0.4-0.20.00.20.4 CRIME MUSIC% 41

PRINCIPAL COMPONENT ANALYSIS 1.ROAD NOISE DAYTIME 2.NOISE MAKING POINTS 3.HEALTH DEPRIVATION 4.PUBLIC TRANSPORT ACCESSIBILITY 5.WORK POPULATION 16.GREEN15.BUILD14.INTEGRATION200013.LOG12.LOVE%11.JOY%10.SAD%9.TRANSPORT%8.HUMAN%7.EE6.CRIMERATECHOICE2000AREAAREA 42

0.4 PC3PC2PC1 -0.20.20.1 0.20.10.10.00.20.1 0.10.00.0 0.40.00.0-0.10.00.1 0.10.00.1-0.10.40.2 -0.10.10.1 -0.20.00.40.00.20.4 0.20.00.00.0-0.20.1 0.10.00.0 -0.20.10.40.0-0.40.3 0.10.00.10.00.40.4 0.30.10.10.1-0.20.2 -0.20.00.1 0.00.20.30.10.40.3 0.40.10.10.1-0.30.4 0.00.00.0 0.10.1-0.20.40.00.0 0.0-0.10.0 -0.4-0.20.00.2 43

DOMINANT CLUSTER: 0 AND 3 PROBLEMATIC CLUSTER: 3 K-MEANS CLUSTERING 44 ITERATION 1 ITERATION 4 ITERATION 5 ITERATION 6 T-SNE ANALYSIS

CLUSTER 0 CLUSTER 0CLUSTERCLUSTER3 3CLUSTER 3 45

INTERVENTION AREAPRINCIPAL COMPONENT 1 LOW HIGH SELECTING HIGH PC1 VALUE AREA AT A MESO SCALE, AND OVERLAYING THE DATASETS (NEGATIVE EMOTION, POSITIVE EMOTION, GREY AREA, SOUND RICHNESS, NOISE, URBAN FABRIC, INTEGRATION 2000, K-MEANS CLUSTERS) THAT IS MOST RELATED TO THE THEME TO FIND THE DISTINCT AREA, WHICH WILL BE THE CHOSEN INTERVENTION ZONES. CONCISING IT TO 8 DIFFERENT MICRO AREAS, 5 OF THEM ARE SELECTED AS THE MAIN AREAS INTO CONSIDERATION. 46

NEGATIVE EMOTION POSITIVE EMOTION GREY AREA SOUNDURBANRICHNESSFABRICINTEGRATIONK-MEANSNOISE 47

Grey areaSad emotionNoiseSound composition SITE 1 SITE 2 SITE 3 SITE 4 SITE 5 Urban fabric INTERVENTION AREA HYDE PARK AREA URBAN FABRIC SOUND COMPOSITION NOISE SAD EMOTION GREY AREA BATTERSEA AREA CAMDEN TOWN ST CANARYPAUL WHARF 48

K means clusterBlue areaGreen area URBAN FABRIC GREEN BLUEGREYKMEANSAREAAREAAREA AREABATTERSEA RIVERTHAMESCROSS AREAPARKHYDE PARKHYDENEAR AREACAMDEN STATIONCROSSKINGSNEAR PAULST PARKREGENTNEAR WHARFCANARY AREARESIDENTIAL 49

SITE ANALYSIS

MICRO SCALE SITE

THE SITE IS DIVIDED BY THE RIVER THAMES, WITH THE ST. PAUL CATHEDRAL ON THE NORTH AND TATE MUSEUM ON THE SOUTH. THE TWO BANKS ARE CONNECTED BY A PEDESTRIAN MILLENNIUM BRIDGE, WHICH, LIKE THE REST OF THE SITE, WAS ALSO A PART OF THE WORLD WAR II, AND HOLDS A LOT OF HISTORICAL VALUE. THE CHARACTER OF THE CITY COMPLETELY CHANGES WHEN YOU WALK FROM THE CATHEDRAL TO THE MUSEUM AND FURTHER TOWARDS THE ELEPHANT AND CASTLE CIRCLE. THE NORTHERN AREA WITNESSES HIGHER MUSIC SOUND AND LOWER NOISE COMPARATIVELY. ALSO, NEGATIVE EMOTIONS LIKE FEAR IS MORE HIGHLIGHTED IN THIS PART. WHILE ITS COMPLETELY OPPOSITE ON THE OTHER SIDE WITH HIGH PERCENTAGE OF LOVE, JOY, SAD, NATURE, NOISE AND CRIME AS WELL. THE BUILDING DENSITY IS ALSO HIGH WITH VERY LOW SOUND OF MUSIC. THE DRASTIC DIFFERENCE IN DATASETS MAKES THIS SITE A GOOD LOCATION FOR THE DESIGN INTERVENTION.

181528.699531421.012 178928.699533221.012181528.699533221.012178928.699531421.012 53

Route INTERVENTION BOUNDARY CONTAIN URBAN DECAY CORNER CONTAIN UNDER VIADUCT SPACES CONTAIN VISIBLE SPACES HIGHEST INTEGRATION AREA THE 1ST - 2ND HIGHEST INTEGRATION AREA INTERVENTION ROUTE CONTAIN NEGATIVE EMOTIONCONTAIN HIGH INTEGRATION ROAD CONTAIN HIGH PC1 INTERVENTION BOUNDARY IS CHOSEN WITH CONSIDERATION OF MULTIPLE FACTORS LIKE HIGHEST INTEGRATION AREA, PC ANALYSIS, NEGATIVE EMOTIONS AND VISUAL PENETRATION. THE ROUTE IS A WALK OF ABOUT 2.1 KM AND FURTHER DIVIDED INTO MORE SMALLER INTERVENTION AREAS. THE SMALLER INTERVENTION AREAS ARE BASED ON REALTIME EXPERIENCE OF WALKING THROUGH THE STREET AND CHOOSING DEAD OR NOISY URBAN DECAY CORNERS, UNDER VIADUCT, PARK AND A TRAFFIC ISLAND. THEY ALL COMBINE TO IMPROVE THE SOUNDWALK ALONG THE SPECIFIED ROUTE. 54

WE ARE MORE SENSITIVE TO DIFFERENCES BETWEEN LOWER FREQUENCIES THAN HIGHER FREQUENCIES. AND SIMILAR TO FREQUENCY, WE HEAR LOUDNESS LOGARITHMICALLY RATHER THAN LINEARLY. THE MEL SCALE WAS DEVELOPED TO TAKE THIS INTO ACCOUNT BY CONDUCTING EXPERIMENTS WITH A LARGE NUMBER OF LISTENERS. IT IS A SCALE OF PITCHES, SUCH THAT EACH UNIT IS JUDGED BY LISTENERS TO BE EQUAL IN PITCH DISTANCE FROM THE NEXT. SOUND 10002000300040005000ANALYSIS100 200 500 1000 2000 5000 10000 FREQUENCY IN HZ (LOGARITHMIC SCALE) MELSINPITCH 0 56

MEL

AUDIO

SOUND ANALYSIS WE WOULD LIKE TO THANK OBERMAN TIN FOR LENDING US PROFESSIONAL EQUIPMENT TO COLLECT SOUND DATA 58 MUSIC HUMAN ENGINE NATURAL

THE SPECTROGRAM PICTURES FOR SLICES

THE AVERAGE LAEQ IN SEVERAL FREQUENCY BANDS FOR EACH SOUND CLIP AUDIO SLICE: TO CORRELATE THE SOUND DATA WITH EXACT GEOLOCATION INFORMATION, THE ROUTE WAS DIVIDED INTO THIRTY EQUAL SEGMENTS AND 2-MINUTE RECORDINGS WERE TAKEN IN EACH SEGMENT. THE MAP BELOW SHOWS THE FREQUENCY DOMAIN PLOT FOR EACH POINT. AUDIO WAVE SPECTROGRAM CNN ARCHITECTURE FEATURE MAPS LINEAR CLASSIFIER CAR DRILL(0.03)DOGHORN(0.05)BARKING(0.81) 59 MUSIC HUMAN TRAFFIC

VISIBILITY ANALYSIS 60 ISOVIST VISIBILITY ANALYSIS

SOUND WALK RAY BOUNDARYVISIBLEVISIBLECASTINGAREA

COLOR ANALYSIS 62 SATURATIONBRIGHTNESS THE ELEPHANT AND CASTLE

AFTER USING ALGORITHM TO CRAWL GOOGLE STREET VIEW IMAGES ALONG THE SOUNDWALK ROUTE, IMAGE PLOT WAS USED TO CALCULATE THE MEDIAN SATURATION AND BRIGHTNESS FOR EVERY IMAGE AND PROJECTED IT ON THE MAP TO SHOW THE OVERALL PROFILE OF THE INTERVENTION AREA. IMAGE PLOT WS ALSO USED TO VISUALIZE THE MASS IMAGES WITH X AXIS REPRESENTING BRIGHTNESS AND Y AXIS EPRESENTING SATURATION.

GRIDFORIMAGEWHOLEIMAGE1 63

K-MEANS COLOR EXTRACTION

PROJECTION OF GOOGLE STREET VIEW IMAGES

TUNE DISTRIBUTION

THE MAP SHOWS THE HIGHLIGHTED CULTURAL, MUSICAL AND HERITAGE SPACES AND THE DESIRED HIGHLIGHTED EMOTIONS IN THESE AREAS. THE DESIGN STRATEGY SHOWS HOW A SPECIFIC FORM AND MATERIAL OF THE OBJECT CAN GET US DESIRED ACOUSTIC AMBIENCE AND HENCE THE SPECIFIED EMOTIONS. THE STRATEGY IS EVOLVED AFTER STUDYING VARIOUS CASE STUDIES LIKE WALT DISNEY CONCERT HALL, TVISONGUR IN ICELAND, CHAPEL OF SOUND AND MORE. SOUND STIMULATIONS WERE CONDUCTED TO EXPERIMENT WITH DIFFERENT FORMS NOTING THEIR FREQUENCIES, AMPLITUDE AND REVERBERATION TIME.

DOMINANT TUNE MULTIPLE SPACE 69

70 MAJOR JUNCTION OF THE CITY - CONNECTS TOWER BRIDGE AND WESTMINSTER BRIDGE HIGHLIGHTED TRANSPORT AND MACHINE SOUND DIVERSE USE OF THE SPACELACKCLOSEDHIGHLIGHTEDINCREASELACK-SHOPPINGBLURRINGRESIDENTIAL/COMMERCIAL/HOSPITALITY/CULTURAL/EDUCATIONALOFSOUNDMALLTOBEDEMOLISHEDPROPOSEDOFSPILLOVERPUBLICSPACESFORMARKETSINCRIMERATEEMOTIONSOFANGER/SAD/FEARPEDESTRIANTUNNELOFCOMFORTFORPEDESTRIANS MICRO SCALE THE ELEPHANT AND ISSUESCASTLEFACED IN THE EXISTING SITE

MICHAEL FARADAY MEMORIAL

ELEPHANT AND CASTLE ROUNDABOUT

JOHN FLAXIMAN, A BLACKSMITH, SET

UP A FIRE ON AN ISLAND WHERE THE ELEPHANT AND CASTLE SILVER UNDERGROUND SUBSTATION IS NOW LOCATED 1787 MAP OF NEWINGTON BY CARY 1750 OLD WESTMINSTER BRIDGE BUILT. LED TO NEW ROADS TO ELEPHANT AND CASTLE. 1815 ROYAL BETHLEHEM HOSPITAL BUILT BY JAMES LEWIS 1861 METROPOLITAN TABERNACLE BUILT AT ELEPHANT AND CASTLE 1826 ELEPHANT AND CASTLE COACHING INN PAINTING BY JAMESPOLLARDWILLIAM SHAKESPEAR FIRST WRITER WHO MENTIONED ELEPHANT AND CASTLE IN HIS PLAY TWELFTH NIGHT 72

HISTORY STUDY - PRE WAR

1908 BARTHOLOMEW'S ATLAS OF LONDON SUBURBS 1863 ELEPHANT AND CASTLE RAILWAY STATION OPENED 1920S TRAMS AT THE ELEPHANT, INTER-WAR TIME 1890 UNDERGROUND LINKED TO THE ELEPHANT. CITY AND SOUTH LONDON LINE. RAILWAY WAS FIRST ELECTRIC LINE. LATER BECAME NORTHERN LINE 1872 BEGINNING OF THEATRES AND CINEMAS BIRTH1889 OF CHARLIE CHAPLIN AT ELEPHANT AND CASTLE 73

HISTORY STUDY - POST WAR USED AS A SET IN MOVIES 1940-41 BEING A MAJOR TRANSPORT HUB WITH A LARGE CIVILIAN POPULATION, THE ELEPHANT AND CASTLE WAS BOMBED HEAVILY DURING THE WORLD WAR TWO 1952 THE ELEPHANT WILL NEVER FORGET, A FILM OF LAST DAYS OF THE TRAMS IN LONDON 1961 MONUMENTSTEELTRANSFORMERELECTRICITYENCLOSEDINASMICHAELFARADAY 1962 REDEVELOPMMENT PLAN FOR ELEPHANT AND CASTLE IMAGE FROM THE BOMBING AT ELEPHANT AND CASTLE1958 THE DOWN-AT-HEEL AREA RECEIVED A WELCOME DASH OF AMERICAN GLAMOUR WHEN ROCK AND ROLL STAR, BUDDY HOLLY PLAYED TO A HUGE AUDIENCE AT THE ELEPHANT AND CASTLE'S TROCADERO LOSS OF THEATRE - ELEPHANT PICTURE THEATRE 74

1988 OODEON ELEPHANT AND CASTLE CLOSED DOWN CORONET CLOSEDCREATINGPERMANENTLYWALKWAYS AND TRAVEL ROUTES WITH APPALLING AND ENGAGING SOUNDSCAPES CAN ENHANCE THE WALKING EXPERIENCE AT ONE OF THE BUSIEST ROUNDABOUTS OF LONDON A FOCUS ON ART AND CULTURE CAN BE USED TO CREATE MULTI-FUNCTIONAL PUBLIC SQUARES, AND A DESTINATION FOR THE WIDER COMMUNITY. SOUNDS FROM LOCAL INDEPENDENT BUSINESSES, BARS AND COFFEE SHOPS CAN BE POSITIVE IN THE RIGHT CONTEXT, HELPING CREATE AN ATMOSPHERE. (NOW METRO HEIGHTS) 2003 CORONET RE-OPENED AS MUSIC VENUE 2007 CASTLE HOUSE AND PART OF HEYGATE ESTATE DEMOLISHED 2008 STRATA HOUSE BUILT ON CASTLE HOUSE SITE 2018, AFTER REMOVAL OF THE ELEPHANT CASTLE ROUNDABOUT 75

DESIGN STRATEGY

DESIGN METHODOLOGY AND STRATEGY 78 METHODOLOGY OBJECTIVE POLYTOPE DE MONTREAL MATHEMATICS PHILIPSMETASTASEISPAVILION/B REVIVE PUBLIC SPACES ENHANCE DESIRED SOUND, ATTENUATE UNWANTED SOUNDS ENHANCE ENVIRONMENTENVIRONMENTPERCEIVEDINDIVIDUALSOUNDQUALITYENHANCEINDIVIDUALPERCEIVEDVISUALQUALITY Kanach, S. and Iannis Xenakis, Komponist (2001). Formalized music : thought and mathematics in composition. Stuyvesant, Ny: Pendragon Press.

79 STRATEGY INTERVENTION AREA EXPAND PUBLIC SPACE DATA DRIVEN ELEMENTS TOPOGRAPHY GROUND INSTALLATION ACOUSTIC PANELS SIMULATIONTESTINGDRIVEN SOUND SIMULATION VISIBILITY SIMULATION AXIAL SIMULATION MATERIAL APPLYING ABSORBER REFLECTOR TIME DYNAMICS COLOR DYNAMICS ACTIVITY DYNAMICS

ACOUSTIC1.SIMULATIONEXPERIMENTRULES:SOUNDLOSSSOUNDABSORPTIONBY MATERIALS (DEFAULT 20%) CONSUMED IN THE AIR (DEFAULT 1%) 2. THE CHANGE IN SIZE AND COLOR OF THE PARTICLE REPRESENTS THE CHANGE IN THE PROCESS OF ENERGY LOSS 3. THE INITIAL ENERGY OF EACH PARTICLE IS SET TO 160dB 4. THE NUMBER OF SPHERES REPRESENTING ENERGY IS 2648 5. THE TOTAL ENERGY OF ALL THE SPHERES IS 423680dB (IN THE LATER SIMULATIONS WE USE THE TOTAL ENERGY CHANGE TO ASSESS THE SOUND ATTENUATION) 6. TIME: BECAUSE THE SOUND TRAVELS SO FAST (340M/S IN AIR) WE EXTRACTED THE VALUES AT 0.15S AND 0.30S FOR COMPARISON. OUR SIMULATION ANIMATION IS PLAYED IN SLOW MOTION. THE SIMULTIONS AND THE ENERGY MENTIONED LATER REFER TO THE INTENSITY OF THE SOUND. SOUND INTENSITY, ALSO KNOWN AS ACOUSTIC INTENSITY, IS DEFINED AS THE POWER CARRIED BY SOUND WAVES PER UNIT AREA IN A DIRECTION PERPENDICULAR TO THAT AREA. THE SI UNIT OF INTENSITY, WHICH INCLUDES SOUND INTENSITY, IS THE WATT PER SQUARE METER (W/M^2). ONE APPLICATION IS THE NOISE MEASUREMENT OF SOUND INTENSITY IN THE AIR AT A LISTENER'S LOCATION AS A SOUND ENERGY QUANTITY. 80 REVERBRATION TIME: 0.4950S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 91.28%36958 99.11%3757 REVERBRATION TIME: 0.4727S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 90.96%38340 99.17%3491GEOMETRICSLOPETERRACE ACOUSTICS

81 REVERBRATION TIME: 0.5824S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 84.90%63980 97.84%9138 REVERBRATION TIME: 0.5749S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 86.23%58314 98.05%8247 REVERBRATION TIME: 0.8408S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 73.48%112356 93.01%29634 REVERBRATION TIME: 0.6236S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 91.85%34511 99.19%3426 POROUSNON-POROUSREGULARIRREGULAR

82 REVERBRATION TIME: 0.9429S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 69.18%130589 90.53%40143 REVERBRATION TIME: 0.6403S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 82.01%76224 96.79%13605 REVERBRATION TIME: 0.9195S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 70.84%123529 91.22%37213 REVERBRATION TIME: 0.9141S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 70.69%124167 91.42%36326CONCAVECONVEXCURVEDPLAINGEOMETRIC ACOUSTICS ACOUSTIC EXPERIMENT

83 ACOUSTIC ABSORPTION: 20% REVERBRATION TIME: 0.9429S TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 69.18%130589 4014340143 ACOUSTIC ABSORPTION: 6% REVERBRATION TIME: 1.5824S MATERIAL: WOOD TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 50.31%210542 75.33%104528 ACOUSTIC ABSORPTION: 27% REVERBRATION TIME: 0.7649S MATERIAL: WALL TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 76.36%100156 94.43%23613 ACOUSTIC ABSORPTION: 33% REVERBRATION TIME: 0.6574S MATERIAL: GLASS TIME 0S 0.15S 0.3S TOTAL ENERGY VALUE ENERGY DECAY PERCENTAGE 0423680 81.49%78421 96.58%14492CUSTOMEDGLASSWOODWALL MATERIALMATERIALACOUSTICS

INTERVENTION ELEMENTS 84 INCREASE STAGGERED STRUCTURE CONCAVE SHAPE REDUCE BACKGROUND FREQUENCY SOFT MATERIAL PYRAMID SHAPED RESONATOR CORRUGATED GLASS INCREASE REVERBERATION TIME ENCLOSED SPACE PLYWOOD

85 EARLY REFLECTION HARD MATERIAL PANEL TERRACE REDUCE REFLECTION SOFT MATERIALPOROSITY REDUCE REVERBERATION TIME POROSITY VIBRATION ISOLATION METAL SOFT MATERIAL

86 DATA DRIVEN ELEMENTS GENERATION FIELD LINE STUDY 2 ATTRACTION 3 ATTRACTION 4 ATTRACTION 5 ATTRACTION 3 MIX ATTRACTION+REPULSION ATTRACTION+2 REPULSION ATTRACTION+3 REPULSION 2 ATTRACTION+3 REPULSION 4 MIX ATTRACTION+SPIN 2 ATTRACTION+SPIN 2 ATTRACTION+2 SPIN 3 ATTRACTION+2 SPIN 4 MIX 2 REPULSION 3 REPULSION 4 REPULSION 5 REPULSION 5 MIX REPULSION+SPIN 2 REPULSION+SPIN 3 REPULSION+SPIN 2 REPULSION+3 SPIN 5 MIX 2 SPIN 3 SPIN 4 SPIN 5 SPIN 5 MIX

EXPLORING

FIELD STUDY IN THE ELEPHANT AND CASTLE SITE KEEPING PEDESTRIANS AND MICHAEL FARADAY MEMORIAL AS THE MAIN FOCUS WHILE THE NEGATIVE SOUNDS LIKE TRANSPORT AND MACHINES AS THE REPELLING FORCE. THE FIELD EXPLORATION FOR FORM WAS TAKEN FURTHER FOR VISUAL AND SONIC ANALYSIS. SPIN FORCE FOR ATTRACTOR AND POINT CHARGE FOR REPELEORS ATTRACTORS AND REPELLORS POINT CHARGE SPIN FOR ATTRACTOR AND POINT FOR REPELERS ATTRACTORS AS HUMANS AND FARADAY MEMORIAL SPINS AND POINT FOR BOTH ATTRACTOR AND REPELERS REPULSION BY NOISE POINTS SPINS FOR ATTRACTORS AND REPELLEORS

DATA DRIVEN ELEMENTS GENERATION TOPOGRAPHY 88 FIELD BASED ON GOOD AND BAD SOUND SOURCE CONVERTING POINTS TO RECTANGLES ROTATING BASED ON FIELD STRENGTH AND DEFINING HEIGHTS USING GENETIC ALGORITHM TO FIND FITTEST LOCATIONS DELETING RECTANGLES WITH LOWEST VISIBILITY

89 DELETING RECTANGLES WITH LOWEST VISIBILITY DELETING BASED ON HIGH SOUND RAY INTERSECTION TAKING CENTER POINTS TO BUILD TOPOGRAPHY FINAL TOPOGRAPHY

DATA DRIVEN ELEMENTS GENERATION GROUND INSTALLATION 90 SET GRID CENTER POINTS SELECT HIGH & LOW DECIBEL DELETE HIGH SATURATION GIVE BASE SHAPE SCALE BY EMOTION DATA REDUCE SCALE IN X AXIS BREAKING BY AMPLITUDE CREATING VOLUMES FORCE BASED ON VEHICULAR LINK BALANCE BETWEEN DIRECTIONS

DATA DRIVEN ELEMENTS GENERATION ACOUSTIC PANEL 92 SOUND WAVE LINES ROTATION HIGH POINTS SEGMENTING FINAL PANELS

DATA DRIVEN ELEMENTS OVERLAPPING 93

DEFININGS ZONES 94 RECREATIONVIBRANTPEACEFUL SPATIAL USE SPACE FOR PERFORMING ARTS- DANCE, MUSICALS, SKATING BAR STALLS- TEMPORARY STRUCTURES FINE ARTS - EXHIBITIONS, STREET ART, KIDS PLAY AREA CAFES, YOGAWALKINGBOOKMEDITATIONOUTDOORICE-CREAMSMOVIESCREENINGSREADINGS

95 ANDMOVEMENTHUMANSOUNDTEXTUREDGLASS,MATERIALMETAL,STONESMOOTHCONCRETE,MUDSTONE,BRICKWOOD,CONCRETE,SYNTHETICRUBBER NEONCOLOURSCOLOURSWHITEPIXELCOLOURS VEGETATIONDOMINANTBUSHESTREESSHRUBS SOURCESOUNDMUSICNATUREHUMAN

PARTICLE DIVIDE SOUND DIVERGENCEPARTICLE OBSTACLE DIFFERENT INITIAL VALUEPARTICLE OBSTACLE DIVIDE SOUND DIFFERENT INITIAL VALUE DIVERGENCEPARTICLE 96 PARTICLERAY DIVIDE SOUND DIVERGENCEPARTICLE OBSTACLE MOTION VECTOR RAY CASTING DIFFERENT INITIAL VALUE SIMULATION DRIVEN TESTING SIMULATION RULES

OBSTACLEATTENUATIONDISTANCE MAXIMIZE THE VISIBLE WHOLEMINIMIZEAREATHEDENSITYMAXIMIZETHEDECAYEDENERGY FINAL LOCATIONINTERVENTION IF THE FORMULA:ENERGYFADED>X K=10log(10,4π)+20log(10,r) INTERVENTIONVISIBLEAREA SETBACK DISTANCEOBSTACLE VISIBLE AREA SETBACK DISTANCE ATTENUATIONDISTANCE FORMULA: K=10log(10,4π)+20log(10,r) MAXIMIZE THE DECAYED VISIBLEMAXIMIZEENERGYTHEAREA FINALLOCATIONINTERVENTION MINIMIZE THE WHOLE DENSITY IF THE INTERVENTIONENERGYFACADE>X 97

SIMULATION DRIVEN TESTING SOUND SOURCE FILTERING 98 HIGHEST VISIBILITY OF SELECTED POINTS VISIBILITY FROM HIGHEST ONES AMPLITUDE DATA OF SOUND SOURCE HIGHEST SOUND SOURCE AMPLITUDE DATA OF SELECTED SOUND VISIBILITY FROM SELECTED POINTS

SIMULATION DRIVEN TESTING SOUND SIMULATION SOUND SIMULATION 100 VIBRANT ZONE X>150 RECREATION ZONE X>100 PEACEFUL ZONE X>50 VIBRANT ZONE 0<X=<50 RECREATION ZONE 0<X=<20 PEACEFUL ZONE 0<X=<10 VIBRANT ZONE

SIMULATION RULES: X = NUMBER OF PARTICLE HITS 101 50<X=<150 RECREATION ZONE 20<X=<100 PEACEFUL ZONE 10<X=<50 TEST RESULT 3D TEST RESULT PLAN

SIMULATION DRIVEN TESTING VISIBILITY GENERATIONGENERATIONSIMULATION9,1stITERATION9,2ndITERATION GENERATION 9 , 3rd ITERATION GENERATION 9 , 4th ITERATION 102

FITTEST GEOMETRY TO ACHIEVE VISUAL RELANTIONSHIP BETWEEN ALL ZONES GENERATION 9 , 7th ITERATION RULES FOR ISOVIST ANALYSIS 1. RAISED WALL 2. FRAGMENTING THE WALL 3. ROTATING EACH SEGMENT TO HAVE AN INWARD VISUAL AXIS 4. ROTATING EACH SEGMENT TO HAVE A VISION IN A PARTICULAR AXIS 5. ROTATING EACH SEGMENT TO HAVE A THROUGH AND THROUGH VISION 6. ROTATING EACH SEGMENT TO HAVE A VISION IN A PARTICULAR AXIS 103

SIMULATION DRIVEN TESTING AXIAL SIMULATION 104 SIMULATION RESULT

FINAL PATHWAY 105 CIRCULATIONSECONDARYCIRCULATIONPRIMARY

MATERIAL APPLICATION GROUND TEST GRID SIZE: 0.5M*3M TEST OUTSIDE THE CIRCULATION 106 3M

MATERIAL APPLICATION STILL SHRUBWATERWALLSANDS GLASS AGGREGATE POROUS STONE SOLID STONE FLOWING WATER SOLIDGRAVELRUBBER RUBBER MULCH (NUGGETS)RUBBER MULCH (SHREDDED) 107 MATERIAL STONE RUBBER GLASS PLANTS WATER WATERSTILLWATERFALLGRASSBUSHESWALLSHRUBTREEFLOWERSGLASSAGGREGATEGLASSMULCHRUBBER)(NUGGETSMULCHRUBBER(SHREDDED)RUBBERSOLIDRUBBERSOLID GRAVELSTONEPOROUSSANDS MATERIAL SELECTION

MATERIAL APPLICATION GROUND MATERIAL 108 CURTAINS MULTIPLETREESTONEGLASSWATERHEDGESGRASSRUBBER

109 STONE SAND HEDGES SOLID RUBBER WATER GRASS GLASS GRAVEL CONCRETE WOOD METAL

MASTER PLAN

25 50 75M N

UNDERGROUNDSECTION TRAFFIC GROUND BAKERLOONORTHERNLEVELLINELINE REFORMED TOPOGRAPHY TO ACHIEVE DESIRED SOUND AMBIENCES

SUGGESTED

FOR VEHICULAR MOVEMENT

PROPOSED ROAD

UNDERGROUND

GROUND LEVEL EXISTING UNDERGROUND TUBE TUNNELS -BAKERLOO AND NORTHERN LINE

TIME COLOURDYNAMICSDYNAMICS

DAY TIME

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NIGHT TIME

TIME COLOURDYNAMICSDYNAMICS

NIGHT TIME

TIME COLOURDYNAMICSDYNAMICS 120

121

TIME ACTIVITYDYNAMICSDYNAMICS

PLAYING LAWN

TIME ACTIVITYDYNAMICSDYNAMICS

MUSIC INSTALLATIONS

TIME ACTIVITYDYNAMICSDYNAMICS

CAFE

TIME ACTIVITYDYNAMICSDYNAMICS

PAINTING WALL

TIME ACTIVITYDYNAMICSDYNAMICS

PERFORMANCE VENUE

TIME ACTIVITYDYNAMICSDYNAMICS

SANDPIT

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TERRACE

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WATER SPACE

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WIND PAVILION