Studio 45_Journal_AlessandroAntoci_StudioC

REFLECTIVE JOURNAL ALESSANDRO ANTOCI_ SEMESTER 1_ 2021 STUDIO 45

CONTENTS BRIEF 01 - Research and Prototyping Part 1 -Assignment Re lection Part 2 - General Re lection Part 3 - Appendix BRIEF 02 - MID-SEMESTER REVIEW Part 1 - Precedent Analysis Part 2 - Concept Development Part 3 - Concept Application BRIEF 03 INTERIM REVIEW Part 1 - Concept Re inement Part 2 - Structural Precedent Part 3 - Physical Model Part 4 - Digital Model BRIEF 04 - FINAL REVIEW Part 1 - Final Drawings

BRIEF 01 - Research and Prototyping PART 1 - Assignment Reflection

MAMAS & THE PAPASCALIFORNIA DREAMIN

FOUR TET- BABY Year: 1965 Genre: Folk rock, sunshine pop Tempo: 116 (mid tempo) Length of note: long drawn-out notes

To provide a controlled basis for the physical acoustic experiments, a selected series of musical pieces were chosen.

MAMAS THE For PAPASThe songs were selected based upon their distinct&qualities. example,’Ocean’ is comprised of complex rifts and therefore CALIFORNIA DREAMIN responds positively to schemes that facilitate acoustic clarity.

On the contrary, ‘California Dreamin’ features a considerable degree of reverberation, and thus schemes that provide an echo may be effective. Such variations in the respective compositions facilitated analysis from a wider range of acoustic demands.

Melody in alto and tenor bass and soprano holding the echo in the vocals. Contrast between male and female voices. Reverberation effect.

FOUR TET- BABY Year: 1965 Genre: Folk rock, sunshine pop Tempo: 116 (mid tempo) Length of note: long drawn-out notes Rhythmic pattern: 4/4

MAMAS & THE PAPASOrchestration: Female vocals, male vocals, CALIFORNIA DREAMIN Year: 1965drum kit and acoustic guitar, piano, bass guitar, Tamborine, alto flute.

Genre: Folk rock, sunshine pop Tempo: 116 (mid tempo)

Melody in alto and tenor bassLength andof soprano note: long drawn-out notes holding the echo in the vocals.

Contrast beRhythmic pattern: 4/4 tween male and female voices. Reverberation Orchestration: Female vocals, male vocals, effect. acoustic guitar, piano, bass guitar, drum kit and Tamborine, alto flute.

Texture: homophonic Sound Quality: 320 kbps mp3

Melody in alto and tenor bass and soprano holding the echo in the vocals. Contrast between male and female voices. Reverberation effect.

Texture: homophonic Sound Quality: 320 kbps mp3

Year:

Genre: Electronic, Broken/ off beat

Genr

Tempo: 127 (up tempo)

Temp extre Key:

Rhythmic pattern: 4/4

Orchestration: Female vocals, male vocals, acoustic guitar, piano, bass guitar, drum kit and Tamborine, alto flute.

MUSIC - OBSERVATION AND ANALYSIS

Year: 2020

Key: C Major

Rhythmic pattern: 4/4

ASSIGNMENT REFLECTIONS

JOHN BUTLER - OCEAN

Orchestration: Female vocals, sample and chopped into short sharp snippets (within the 4/4 framework), Wind chime samples and synthesizer, bird samples. 808 drum machine with a mixture of kick and snare.

Repetitive structure with a clear build up intro going Into a strong and leading 808 kick.

Texture: homophonic

Texture: Ostinato and percussive elements tied in with modulated wind chime melody

Sound Quality: 320 kbps mp3

Sound Quality: 320 kbps mp3

JOHN BUTLER - OCEAN

Year: 2020

Year: 2015

Genre: Electronic, Broken/ off beat

Genre: post rock, roots rock, instrumental

Tempo: 127 (up tempo)

Tempo: 98 (however unsure, is sporadic) extreme changes in pace

Key: C Major

Key: A

Rhythmic pattern: 4/4

FOUR TET- BABY

Orchestration: Female vocals, sample and Year: 2020 chopped into short sharp snippets (within the Genre: Electronic, Broken/ off beat 4/4 framework), Wind chime samples and 127machine (up tempo) synthesizer, bird samples. 808 Tempo: drum Key: C Major with a mixture of kick and snare.

Repetitive structure with a clear build up Rhythmic pattern: 4/4intro going Into a strong and leading 808 kick.

Orchestration: Female vocals, sample and

chopped into short sharp snippets (within the 4/4 framework), Wind chime samples and synthesizer, bird samples. 808 drum machine with a mixture of kick and snare.

Repetitive structure with a clear build up intro going Into a strong and leading 808 kick.

Texture: Ostinato and percussive elements tied in with modulated wind chime melody

Sound Quality: 320 kbps mp3 Texture: Ostinato and percussive elements tied in with modulated wind chime melody Sound Quality: 320 kbps mp3

Orchestration: 12 string acoustic guitar.

JOHN BUTLER - OCEAN

Large rhythmic variation and tempo change Year: 2015

Genre: post rock, roots rock, instrumental Texture: Ostinato percussive taps (either box or Tempo: 98 (however unsure, is sporadic) guitar) overlayed with vibrant complex riffs extreme changes in pace

Sound Quality: 320 kbps mp3

Key: A Orchestration: 12 string acoustic guitar.

Large rhythmic variation and tempo change Texture: Ostinato percussive taps (either box or guitar) overlayed with vibrant complex riffs Sound Quality: 320 kbps mp3

Orch Large

Textu guita

Soun

ASSIGNMENT REFLECTIONS

RELATIONSHIP OF ACOUSTICS AND GEOMETRY Geometry has a direct impact on the reflection of sound, and therefore acoustic properties vary in conjunction with geometric alterations. This principle was simply applied primarily by observing these fluctuations in 2D form. The simple forms were reduced to convex, concave and flat. Using these base 2D geometries as a foundation, the transposition of these forms was explored in 3D. In addition to the direct reflection of sound, other interactions of sound with a surface were also considered. During the physical tests, a brief understanding of diffusion and diffraction came into effect when designing and explaining the acoustic effects of the physical models. In particular, minimising openings in the acoustically reflective surface o prevent diffraction.

SOUND MOVEMENT SKETCHES

ASSIGNMENT REFLECTIONS

PREEXISTING CONCEPT From a provided list of auditorium’s (predominantly open-air), Cloud Tower and the Sidney Myer Musical Bowl were selected as design precedents . Studies of the base acoustic geometries were conducted, and kept in consideration throughout the entire assignment. Task specific analysis of the precedents primarily involved the reflection an distribution of internal acoustic sources.

Utilising pre-existing architectural drawings, the predominant architectural elements were re-modeled using 3D modelling software. This provided the basis for a schematic acoustic and circulatory analysis, in particular the reflection of sound from its original source and perceived source.

SIDNEY MYER MUSICAL BOWL PHOTOS - Alessandro Antoci, 12/03/21, Melbourne, Victoria.

PRECEDENT: SIDNEY MYER MUSICAL BOWL - Yunckan Freeman Bros, Griffiths & Simpson -1959- Melbourne, AU

DESCRIPTION

DESCRIPTION

The brief for an open-air stage, led next ENTERprise architects to investigate the acoustic theory of “what you see you hear” in their winning competition proposal. Cloud Tower directs sound to almost 1700 seats. The pavilion relies on a series of elements to successfully achieve acoustic amplification. In particular, a collection of planar surfaces have been oriented at specific angles to reflect and direct sound towards the landscaped amphitheater. This occurs in both plan, and in section, with the building’s underlying geometries producing a linear yet concave form to focus sound across the seating.

The Sidney Myer Musical Bowl, focuses sound to almost 2000 inbuilt seats and a further 8000 landscaped seats. As opposed to planar geometries, Sidney Meyer draws upon an expansive conical form that extends above the primary sound sources on the main stage. However, akin to Cloud Tower, in plan view Sidney Meyer’s form expands outwards from the primary sound source, projecting sound outwardly. Inspired loosely by the Hollywood Bowl, the project is comprised of a tensile canopy utilising steel cabling, concrete anchors and clad in aluminum membrane paneling.

AUDITORIUM SEATS: 1670

AVERAGE SEAT DISTANCE: 30 M (limited to)

AUDITORIUM SEATS: 2030

LAWN SEATS: 8000

FURTHEST SEAT DISTANCE: 40 M

LAWN SEATS: 300

MAXIMUM ORCHESTRA SIZE: 200 (approximately)

CANOPY SIZE: 4055 M2

MAXIMUM ORCHESTRA SIZE: 200 (approximately)

HEIGHT OF STAGE ROOF: 23 M

STAGE WIDTH: 27.4 M (approximately)

STAGE DEPTH: 19.5 M (approximately)

STAGE WIDTH: 20 M (approximately)

STAGE DEPTH: 11 M (approximately)

14.50

23.00t

PRECEDENT: CLOUD TOWER - the next ENTERprise Architects - 2007 - Grafenegg, AT

LEGEND SOUND PERCEIVED SOUND

11.00 20.00

30.00

0

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10

15

20

SECTION A-A

SECTION A-A

EXTERIOR PERSPECTIVE 2 - Alessandro Antoci, 12/03/21

PLAN

SITE ISOMETRIC

PLAN

EXTERIOR PERSPECTIVE 1 - Alessandro Antoci, 12/03/21

INTERIOR PERSPECTIVE - Alessandro Antoci, 12/03/21

18

ASSIGNMENT REFLECTIONS

VISUALISING CONCEPT

A

9795

To efficiently investigate the relationships between acoustics and geometry, a variety of (miniature) physical models were constructed to amplify sound from the speaker of a smartphone.

An iterative approach to design, the physical experiments enabled the rapid comparison of differing acoustic effects from diverse geometries.

In order to minimise the amount and impact of variables, a variety of elements in throughout the physical model testing were kept constant. These involved, using the same location, phone (projecting sound at the same volume) in addition to phone and observer positions.

120

35

645

55

1805

The phone was placed within the physical model, the respective tracks were then played , followed by a series of observations.

In addition to descriptive observations regarding sound quality, more quantifiable data such as the degree of amplification and sound clarity to provide a more accurate comparison between the tests.

Plan

Isometric View

1695

5625

2865

50 Section A

90

225

110 50

80

50

160 260

Front Elevation

A

Room 213 - Test Location Scale 1:50

0

250 500

1000

Test Parameters (Iteration 18) Scale 1:4 0

25

50

100

PART 3: SIMPLIFIED FORMS.CARDBOARD

PART 2: SIMPLIFIED FORMS. PAPER

PART 1: ORIGAMI FORMS. PAPER

PLAN: 01

PLAN: 02

PLAN: 03

PLAN: 04

PLAN: 05

PLAN: 06

PLAN: 07

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PLAN: 17

PLAN: 18

ELEVATION: 01

ELEVATION: 02

ELEVATION: 03

ELEVATION: 04

ELEVATION: 05

ELEVATION: 06

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ELEVATION: 11

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ELEVATION: 15

ELEVATION: 16

ELEVATION: 17

ELEVATION: 18

PERSPECTIVE: 01

PERSPECTIVE: 02

PERSPECTIVE: 03

PERSPECTIVE: 04

PERSPECTIVE: 05

PERSPECTIVE: 06

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PERSPECTIVE: 11

PERSPECTIVE: 12

PERSPECTIVE: 14

PERSPECTIVE: 15

PERSPECTIVE: 17

PERSPECTIVE: 18

Ocean: minimal amplification. slight loss of clarity within the guitar, in particular the high frequencies(treble) Baby: The bass heavy kick drum has been muffled. The intricate accompaniment in particular the flute synth has been muffled/lost.

Overall clarity has been diminished and the texture of the song negatively affected.

California Dreamin: Slight amplification. Loss of clarity throughout all elements of the song noticed.

Ocean: Song has become quieter. Treble and mid frequencies diminished significantly.

Baby: Intricacies within the accompaniment lost.

Song has become quieter and quality lost within all aspects of the song.

California Dreamin: No amplification and clarity between vocals and rhythm lost.

Ocean: Intricate guitar treble frequencies are more apparent and crisper. 0 affect to amplification.

Baby: minimal amplification. Clarity unchanged.

California Dreamin: Increase in the treble frequencies particularly within the female vocals, to the detriment of the other frequencies. No amplification.

Ocean: No volume change. Slight muffle.

Song has become less balanced.

Baby: No amplification changes, overall loss in clarity. bass comes through as normal, however mids and highs lost. intricate sections of vocals lost.

California Dreamin: no volume change. Decrease in clarity within the mid to treble range.

Ocean: Increase in amplification. Sound quality increased. Intricate plucks can now be heard.

Baby: Bass kick drum has been amplified and is coming through clearly. slight amplification across the mid to high range. minimal difference in overall clarity.

California Dreamin: No changes can be heard.

Ocean: slight amplification, higher tones within the recording now audible.

Soft strums now apparent in the recording.

Baby: minimal amplification or change in clarity California Dreamin: Increased clarity and overall balance within the melody as well as main vocals.

Ocean: Minor amplification. 0 change in clarity.

Baby: Initial lead vocals at the beginning of the song sound slightly clearer. High frequencies are clearer overall. slight amplification increase.

California Dreamin: Reverb within the song has been accentuated. Clarity within the song has been lost.

Ocean: Minimal amplification. Very slight muffle.

Baby: very minimal change in volume or clarity California Dreamin: Noticeable muffle.

Ocean: Minor increase in amplification. Clarity unchanged.

Baby: Unchanged amplification and clarity California Dreamin: Clarity lost. Unchanged amplification

Ocean: unchanged across both amplification and clarity.

Baby: Slight amplification.

Clarity unhindered.

California Dreamin: Slight amplification, clarity left unchanged.

Ocean: slight amplification.

No noticeable effect on clarity Baby: Unchanged California Dreamin: unchanged

CLARITY

CLARITY

CLARITY

CLARITY

CLARITY

CLARITY

CLARITY

CLARITY

CLARITY

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

CLARITY

Ocean: Clear amplification, unchanged clarity.

Baby: Clear amplification, kick/low end amplified.

California Dreamin: Distinct amplification especially within the vocal harmonies. No affect to clarity.

CLARITY

Ocean: Richer vibrant sound emanating from the guitar. Distinct amplification. Clarity now evident as can pick up on the intricacies within the treble of the song.

Baby: Clear amplification.

Clarity increased. Texture well balanced.

California Dreamin: Clear amplification and crisp vocals. Clarity across the board increased.

CLARITY

PERSPECTIVE: 16

Ocean: slight increase in amplification. Clarity unchanged.

Baby: Very minor amplification.

California Dreamin: Very minor amplification. Vocals have lost clarity.

CLARITY

Ocean: low end frequencies pronounced.

Small amplification.

Baby: Overall texture and orchestration has become clearer and punchier.

Clear amplification.

California Dreamin: harmonies/backup vocals have become clearer.

Clear amplification.

CLARITY

Ocean: Slight increase in volume. Unchanged clarity.

Baby: Slight amplification with 0 loss of clarity California Dreamin: Harmonies/backup vocals amplified and crisp.

Increase in amplification overall.

CLARITY

CLARITY

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

QUIET

AMPLIFIED

AMPLIFIED

MUFFLED

MUFFLED

CLARITY

PERSPECTIVE: 13

Ocean: Clear and distinguished increase in amplification. Guitar balanced and clarity increased.

Baby: Bass amplified without detriment to the rest of the frequencies.

California Dreamin: Isolated vocals have become clearer (as opposed to the harmony which sounds slightly muffled), almost a disconnect between the main vocals and the reverb in the song. Clear amplification.

CLARITY

QUIET

QUIET

Ocean: High/treble frequencies of the guitar slightly lost. Bass and lowend frequencies often unnoticed can now be heard. Slightly amplified and richer sound.

Baby: Accentuated nuances within the song (whispers in vocals) have become more pronounced. Kick drum has become louder.

California Dreamin: Slight amplification can be heard. Decrease in clarity and overall cohesion.

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

MUFFLED

ASSIGNMENT REFLECTIONS

ANALOGUE TESTS

In addition to physical acoustic shell models, tests in 2D were conducted to visually document the relationships between acoustics and geometry. Two separate mediums were utlilised, water and light.

The water tests were conducted through forming and submerging a foil model in water. A droplet of water was released (from a constant height), with the ripples produced within the model recorded in slow motion.

The light tests were conducted through pointing a laser pointer at various locations within the model. The primary interaction and following reflections of the light rays were recorded.

WATER TEST DIAGRAM

LIGHT TEST DIAGRAM

PROTOTYPE: ANALOGUE TEST - LIGHT REFLECTION ANALYSIS

PROTOTYPE: ANALOGUE TEST - WATER TEST ANALYSIS

1

2

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2.0s

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Observations: Wave propagates evenly with minimal interference. Large wavelength created.

Hypothesis: Desirable for large area amplification.

Observations: Wave propagates with a small amount of interference.

Short wavelength created.

Hypothesis: Undesirable for amplification

Observations: Wave propagates evenly with minimal interference.

Medium wavelength created.

Hypothesis: Desirable for directional amplification.

Direct Waves Reflected Waves Direct Waves Direct Waves Surface (Foil) Reflected Waves Reflected Waves Surface (Foil) Surface (Foil)

4 4

5 45

5 6 6

0.5s 0.5s

1.0s 1.0s

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3.0s 3.0s 3.0s

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3.0s 3.0s 3.0s

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4.0s 4.0s 4.0s

Observations: Observations: Wave propagates with Wave propagates with some interference. Small some interference. Small wavelength created at wavelength created at a high frequency. Waves a high frequency. Waves converge inside shell. converge inside shell.

Hypothesis: Undesirable Hypothesis: Undesirable effect for amplification. effect for amplification.

Observations: Observations: Observations: Wave propagates evenly Wave Wave propagates propagates with evenly with minimal interference. some interference.

Small with minimal interference.

Large wavelengths. wavelength createdWave at Large wavelengths.

Wave dissipates quickly. a high frequency. dissipates quickly. Waves Hypothesis:inside Undesirable converge shell.

Hypothesis: Undesirable effect for amplification Hypothesis: Undesirable effect for amplification as wavelength dissipates effect for amplification. as wavelength dissipates therefore unable to amplify at therefore unable to amplify at desired distance. desired distance.

Observations: Observations: Wave propagates unevenly Wave propagates unevenly with large amounts of Observations: with large amounts of interference and diffusion.

Wave propagates evenly interference and diffusion.

Minimal waves created due with minimal interference.

Minimal waves created due to internal diffusion and Large wavelengths.

Wave to internal diffusion and interference from the internal dissipates quickly. interference from the internal folds.

Hypothesis: Undesirable folds.

Hypothesis: Undesirable effect for amplification Hypothesis: Undesirable effect for amplification more as wavelength dissipates effect for amplification more suited to a recording studio therefore to amplify suited to aunable recording studio at Waves desired distance.Direct Direct Waves Reflected Waves Reflected Waves Surface (Foil) Surface (Foil) Observations:

PROTOTYPE: SOUND ANALYSIS GRAPH

CLARITY

ASSIGNMENT REFLECTIONS

MODEL 15

CONCLUSION - ANALOGUE TESTS

Since the initial tests were conducted using physical models, the impact of the structural integrity of the models appeared to effect the data. Models which proved to posses a greater structural rigidity appeared to reflect sound more effectively.

MODEL 13 MODEL 14

MODEL 12

However, upon using firmer material (300 gsm card vs 90 gsm paper), the models with less corrugations (previously less structurally sound than the ‘origami’ models), demonstrated superior qualities of amplification and clarity. This provided a physical example of how the array of corrugations in the geometry may distort and even ‘trap’ the sound as opposed to projecting it directly outwards.

MODEL 6

MODEL 3

QUIET

MODEL 18

MODEL 7

MODEL 17 MODEL 5

AMPLIFIED

MODEL 9

MODEL 11 MODEL 16

The models that provided the greatest degree of amplification and clarity combined featured a concave profile in conjunction with a firmer material (thus possessing a greater degree rigidity). In essence, the effective models bore greater resemblance to the base geometries of the design precedents.

MODEL 9

MODEL 10

PART 1: ORIGAMI FORMS PAPER

MODEL 8

PART 2: SIMPLIFIED FORMS PAPER

MODEL 2 MODEL 4

PART 3: SIMPLIFIED FORMS CARDBOARD

MUFLLED MODEL 1

PROTOTYPE: SOUND ANALYSIS FINAL 3

ANALOGUE TEST - ITERATIONS 13 15 18

PLAN: 13

A

A

15

13

Plan

Plan

Isometric View

Plan

Isometric View

A

ELEVATION: 13

ELEVATION: 15

ELEVATION: 18

50 30

35

105

100 Section A

Ocean: Slight increase in volume.

Unchanged clarity.

Baby: Slight amplification with 0 loss of clarity California Dreamin: Harmonies/backup vocals amplified and crisp. Increase in amplification overall.

Ocean: Richer vibrant sound emanating from the guitar. Distinct amplification. Clarity now evident as can pick up on the intricacies within the treble of the song.

Baby: Clear amplification. Clarity PLAN: 18 increased. Texture well balanced.

California Dreamin: Clear amplification and crisp vocals.

Clarity across the board increased.

55

70

120

35

Isometric View

18

Ocean: Clear and distinguished amplification. Guitar balanced and clarity increased.

Baby: Bass amplified without detriment to the rest of the frequencies.

California Dreamin: Isolated vocals have PLAN: 15 become clearer (as opposed to the harmony which sounds slightly muffled), almost a disconnect between the main vocals and the reverb in the song.

Clear amplification.

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Front Elevation

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40 Section A

Front Elevation

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CLARITY

CLARITY

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Front Elevation

CLARITY

A

Test Parameters (Iteration 13) Scale 1:4

Test Parameters (Iteration 15) Scale 1:4

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Test Parameters (Iteration 18) Scale 1:4 0

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QUIET

QUIET

AMPLIFIED

MUFFLED

PERSPECTIVE: 13

AMPLIFIED

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MUFFLED

MUFFLED

PERSPECTIVE: 15

AMPLIFIED

PERSPECTIVE: 18

ANALOGUE TEST TO PACHYDERM - FORM FINDING Iteration 18 - Form Finding - Front Facing Isometric View - Scale 1:4 @ A3 B

A

ASSIGNMENT REFLECTIONS

A

COMPUTATIONAL OPTIMISATION The base geometries of the most effective models were transposed into digital format. This enabled a digital acoustic analysis in conjunction with parametrically altering the respective geometries in the search for optimum performance.

ANGLE A = DEFINED BY CROWD LAYOUT, TBC UNTIL NEXT STAGE OF DESIGN.

CANOPY FORMS BETWEEN SIDE PANELS.

ANGLE B = ANGLE A DEFINES CANOPY WIDTHS TO THE FRONT AND BACK OF THE SHELL.

FOR THE PURPOSE OF THE EXERCISE, PANELS WERE ANGLED 30 DEG OUTWARDS TO MATCH THE SYDNEY MYER MUSIC BOWL

On the contrary to the physical tests, the digital experiments provided more quantitative data, as opposed to subjective observations of audibility and acoustic clarity.

Acoustic performance considered the intensity and uniformity of acoustic distribution over a constant area. The primary sources remained constant throughout the tests, placed within the various acoustic shells. Optimum acoustic performance was mathematically defined as having the lowest standard deviation, and therefore in principle, translates to a more even spread of sound across a given region.

1 - Oracle Point 2-Controls back wall height 3- Controls canopy NURBS curvature between point 2-4.

4- Controls Canopy Height

4

2

3

v

1

u

Iteration 18 - Grasshopper Parameters - Section - Scale 1:4 @A3 4

2 1 18.1 2- 0m (u), 15m (v) 3- 26m (u), 26m (v) 4- 10m (v)

2 2

1 18.2 2- 0m (u), 25m (v) 3- 27m (u), 16m (v) 4- 0m (v)

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4

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3 1

3

3

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4 2

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1 18.3 2- 0m (u), 15m (v) 3- 15m (u), 21m (v) 4- 12m (v)

1 18.4 2- 0m (u), 25m (v) 3- 5m (u), 16m (v) 4- 0m (v)

1 18.5 2- 0m (u), 15m (v) 3- 15m (u), 10m (v) 4- 8m (v)

18.6 2- 0m (u), 25m (v) 3- 15m (u), 0m (v) 4- 0m (v)

*Scaled down approximately 1/10 of parametrised dimensions to enable Pachyderm testing

PROTOTYPE:PROTOTYPE: DIGITAL TESTDIGITAL - PACHYDERM TEST - PACHYDERM ANALYSIS ANALYSIS

Parameters: Parameters: Frequency Sound Pressure Level: 100Hz Sound Pressure Level: 100Hz Bounds: 80dB - 100dB Bounds: 80dB - 100dB Rays: 1000 rays (10 bounces) Rays: 1000 rays (10 bounces) Time: 1000 milliseconds Time: 1000 milliseconds

Model 13.1 Model 13.1 Standard Deviation:Standard 4.17 Deviation: 4.17

Model 18.1 Model 18.1 Convex, low back Convex, low back Standard Deviation:Standard 4.14 Deviation: 4.14

Model 13.2 Model 13.2 Stretched Backwards Stretched Backwards Standard Deviation:Standard 5.08 Deviation: 5.08

Model 18.2 Model 18.2 Convex, high back Convex, high back Standard Deviation:Standard 4.41 Deviation: 4.41

Model 13.3 Model 13.3 Stretched Downwards Stretched Downwards Standard Deviation:Standard 4.53 Deviation: 4.53

Model 18.3 Model 18.3 Straight, low back Straight, low back Standard Deviation:Standard 3.86 Deviation: 3.86

Model 15.1 Model 15.1 Standard Deviation:Standard 4.03 Deviation: 4.03

Model 18.4 Model 18.4 Straight, high back Straight, high back Standard Deviation:Standard 3.78 Deviation: 3.78

Model 15.2 Model 15.2 Stretched Backwards Stretched Backwards Standard Deviation:Standard 4.37 Deviation: 4.37

Model 18.5 Model 18.5 Concave, low backConcave, low back Standard Deviation:Standard 3.99 Deviation: 3.99

Model 15.3 Model 15.3 Stretched Upwards Stretched Upwards Standard Deviation:Standard 4.19 Deviation: 4.19

Model 18.6 Model 18.6 Concave, high back Concave, high back Standard Deviation:Standard 3.61 Deviation: 3.61

Isometric

80dB Isometric

100dB 80dB

100dB Plan - Scale 1:450

Plan - Scale 1:450

Section - Scale 1:250

Section - Scale 1:250

Isometric

Parameters: Parameters: Frequency Sound Pressure Level: 100Hz Sound Pressure Level: 100Hz Bounds: 80dB - 100dB Bounds: 80dB - 100dB Rays: 1000 rays (10 bounces) Rays: 1000 rays (10 bounces) Time: 1000 milliseconds Time: 1000 milliseconds

80dB Isometric

100dB 80dB

100dB Plan - Scale 1:450

Plan - Scale 1:450

Section - Scale 1:250

Section - Scale 1:250

PROTOTYPE: DIGITAL TEST - PACHYDERM ANALYSIS

Control

Parameters: Sound Pressure Level: 100Hz Bounds: 80dB - 100dB Rays: 1000 rays (10 bounces) Time: 1000 milliseconds

25m

No shell, SD: 4.68

Moving forward from these results, a form that reaches a compromise between these two acoustic aspects could be developed. Furthermore, a scheme that possesses the ability to deviate between audibility and amplification, depending on its functional demands may provide the optimum solution.

Observations: - Sound reaches the width of the receiver area and is successful in amplification.

- Low SD value indicates most even distribution of sound.

8m

As deduced from the digital analysis, Model 18.6 and Model 15.1 provide the superior sound distribution and amplification respectively.

Model 18.6 Concave, high back, SD: 3.61

Model 15.1 SD: 4.03 Observations: - Although SD value is lower than some other iterations, indicating uneven distribution, this model was most successful in amplification.

- Approx a third of receiver areas reaching 100dB. - Under different parameters (e.g. narrower ‘audience’ geometry) and through optimization, this iteration may perform better.

8m

CONCLUSION-COMPUTATIONAL OPTIMISATION

Most Successful

Least Successful Model 13.2 Stretched Backwards, SD: 5.08 Observations: - Sound waves are focused inwards into the shell, dissipating before they can be pushed outwards from shell. This results in poor amplification and spread.

9m

ASSIGNMENT REFLECTIONS

18m

Observations: - Rays evenly spread across ground plane as there is no shell structure to reflect sound in any other direction.

Isometric

80dB

100dB

Plan - Scale 1:350

Section - Scale 1:250

GENERAL REFLECTIONS

APPLICATIONS TO FUTURE PROJECTS

PART 2 - GENERAL REFLECTIONS

Throughout the investigation, the direct impact of geometries upon acoustic quality has been explored. Distilled simply,concave forms have proven to be more effective at focusing sound towards a single point whereas convex surfaces demonstrate superior systems of sound dispersion.

Depending on the required dimensions of projection and distribution, either may be employed. Furthermore, forms that reflect sound inwards, such as ‘saw-toothed’ profiles should be avoided for the purpose of amplification, as sound becomes trapped within the form.

Given the nature of the physical tests, arguably one of the most influential factors regarding clarity and amplification derived from the firmness of the materials. Denser materials such as 300-gsm card proved to be more effective at clearly reflecting sound than 90-gsm paper.

With these aspects in mind, the geometry and materiality will have considerable influence on the success of the next stage in the project.

GENERAL REFLECTIONS

POTENTIAL IMPROVEMENTS As the physical tests formed a considerable portion of the investigation, improvements in this sector are likely to influence the nature of the data.

Despite using controlling as many variables as possible, the data collected from the physical model tests currently relies on subjective perception of audibility and clarity. This data could be made quantifiable through the use of measuring sound pressure levels via the incorporation of a digital decibel reader.

Furthermore, in the case that this cannot be obtained, even an application on a separate smart phone (to the one projecting sound), could be utilised to record this data at a controlled point.

QUALITATIVE ANALYSIS VS QUANTITATIVE ANALYSIS

GENERAL REFLECTIONS

EXTERNAL IDEAS

The next stages of the project will include a further refining of acoustic geometries, as series of functional and aesthetic demands will be employed as the scale of the project is transformed from a portable speaker to an outdoor amphitheater.

These will include structure, architectural intent and function.

However, these aspects must act in unison, with each facet overlapping into the other.

SIDNEY MYER MUSICAL BOWL - TENSILE SYSTEM - Alessandro Antoci, 12/03/21, Melbourne, Victoria.

SKETCH - STRUCTURE PERMITS ACOUSTICALLY TUNED THROUGH AN ADAPTABLE TENSILE FORM???

PART 3 - APPENDIX

Class Notes + Barron M., Auditorium Acoustics and Architectural Design.

Independence: Routledge; 2009.

Chapter 1 - Introduction

“All auditoria rely on both visual and acoustic stimulation” pg1 “Only certain aspects of sound are used to establish the size and character of the enclosed space” Pg1 “Fan shaped plan and the arena form became highly developed in classical times and remains constant point of reference for present design.”

Pg2 “Branek pioneer analysis of auditorium acoustics on the basis of several independent subjective qualities” Pg 4 “Wood is often quotes as the optimum material to line concert halls, just because violins ae made of the same materials.”

Pg 4 “Both plan forms would now be considered dangerous due o focusing by concave surfaces.”

Pg 4 Chapter 2 -Sound and Rooms “Sound propagation depends on a source of sound a receiver, but the propagating medium is all around us.”

-pg 10 “Sound is generated in most cases b a vibrating object… ny wall which transmits sound from a neighbouring room is also vibrating, even though the amplitude is minuscule.”

-pg 10

“Sound waves are longitudinal… travel at fixed speed, the speed of sound, which at 20 degrees celsius is 343m/s.”

-pg 10 “Amplitude of a sound wave is determined by the magnitude of the pressure fluctuation… decibel… 2 key aspects: it is a ratio measurement of energies or powers and is logarithmic.”

-pg 11 “Decibel used in 2 ways: to measure differences or to measure sound (or other) amplitudes.”

-pg11 “The effect of doubling the size of an orchestra is to produce a 3 db sound level increase… Conversational speech has a level of around 50 dB. A very loud sound of 120 db causes pain in the ears and would cause deafness if experienced regularly… quietest sound in an auditorium likely to be no lower than 20 db.”

-pg 11 “Frequency… pure tone has a single frequency associated with it. All musical instruments produce complex sounds made up of single frequencies… the lowest if these determines the pitch (perceived frequency).

-pg 11 “Hertz = cycles per second, of vibrating surface. Surface generates sound wave at the same frequency… judged by ear as same pitch as the frequency... Ear can perceive frequencies between 20 Hz and 20 000 Hz.” -pg 11

“Octave = doubling of frequency…. Acoustic measurements conventionally at octave intervals, with centre frequencies at 125, 250, 500, 1000 Hz etc.”

-pg 11 “Speed of Sound = Frequency x Wavelength” -pg 11 “At low frequencies with large wavelengths sound waves commonly bend round objects. But at high frequencies, objects are generally larger in dimension than the wavelength and sound behaves much like light, travelling in straight lines and forming shadow zones.”

-pg 11 “For every doubling of distance from the source, the are occupied by the energy increases by a factor of four...intensity thus drops by ¼ and get 6 db decrease per doubling of distance, aka spherical spreading.”

-pg 12 “Nearly all musical sounds with pitch depend on resonance for their generation… room can also be treated as complex resonant system.”

-pg 12 “Lowest figure = fundamental or first harmonic” -pg 12 “Relative strength of harmonics varies from instrument… The human voice os unique in its scope for varying the format frequency and uses this to produce different vowel sounds.”

-pg 13

“Both speech and music rely on contrasts of soft and loud, with the dynamic range in classical music of over 70 dB” -pg 13 “The relative strengths and durations of concurrent speech sounds or notes are of crucial importance for room acoustics.

They determine for instance the degree to which sound reflections can be tolerated without intelligibility or clarity being undermined.”

-pg 15 Sound Propagation “In an enclosed space, the direct sound of course decreases in level in the same way as outside… This requirement is generally satisfied if there are adequate sightlines to the stage… since our eyes are below the top of our heads by on average 100mm, floors should be raked to allow the sightline to pass over the heads of audience in front.”

Pg 15 “Floors should be raked to allow the sightline to pass over the heads of audience in front… the sightline criterion generates a curved raked… approximated by a series of liner rakes… maximum permissible rake in balconies is normally contained in legislation; 35 degrees is a common limit.”

Pg 15 “Most of the sound energy we receive in enclosed spaces has been reflected off wall and ceiling surfaces. The geometries of reflection for light and sound are identical. The reflective wave behaves as if it had originated from image position… An acoustic mirror is a large, plane, massive surface (eg. concrete or plastered masonry). Sound reflected by one surface will continue to be reflected between the room surfaces, until its energy is removed by absorption.”

Pg 16

BRIEF 02 - Mid-Semester Review

PRECEDENT/ARCHITECT ANALYSIS

FREI OTTO - FORM AND PHILOSOPHY Nerdinger W., Frei Otto. Complete Works: Lightweight Construction - Natural Design, 2005.

Aside from being a recommended reference, Frei Otto’s works and philosophies are highly applicable to the project . Rooted in a expressive yet functional structural optimum, Otto’s works provide an economical solution to the shelter of large areas.

This is particularly critical as quarried portions of the site dictate spans of over 100 meters . Although an architecture relying on the means of infill could prove to be successful, Otto’s structures arguably gesture towards a more elegant and sustainable solution.

PRECEDENT ANALYSIS

MARK FISHER - ARCHITECTURE OF SPECTACLE Eric Holding - Mark Fisher Staged Architecture, 2000.

Described often a counterpart to Otto, Mark Fisher’s designs reject notions of a considered integration to the setting. The results are demountable, large scale structures that acknowledge their function in the provision of mass entertainment. In effect, this architecture becomes the site, serving as focal points of spectacle. A key aspect to consider is the combination of scale and adaptability that this architecture possesses, able to be rapidly applied on a global scale.

PRECEDENT ANALYSIS

CHARMAINE LAY + CARLES MURO - PUBLIC SPACES https://www.dezeen.com/2012/01/24/inca-public-market-bycharmaine-lay-and-carles-muro/

PRECEDENT ANALYSIS

ALBERTO PUGNALE - STRUCTURE AND ACOUSTICS Pugnale A., Frei Otto Article IASS Journal, IJASS, 2018 With close reference to the works of Otto, the article provides an insight and analysis into the relationships between structural form and acoustics. Given that Studio Assignment 1 was based upon the relationships between acoustics and geometry, the article proved to be especially useful in outlining the facet of structure in the process. In effect, this element highlighted the possibilities of striving to design with both structure and acoustics in mind , to achieve a functional architecture that simultaneously achieves both.

PRECEDENT ANALYSIS

THE QUARRY, PERTH- TERRA FORMING https://www.quarryamphitheatre.com.au/Hire-the-venue/ Concerts-and-Performances Although relatively simplistic in terms of its architectural composition (a series of banked seating, followed by a handrail and fronted by a stage), the overall scheme served as a clear demonstration landscaped theatre. In particular, the situation of the seating, within the walls of quarry, provide an improved theatrical and acoustic effect. After all, outdoor amphitheaters (typically) are not renowned to surpass the acoustic conditions of indoor theaters, thus the incorporation the natural elements provides a unique experience altogether.

PRECEDENT ANALYSIS

ARCHITECT - A ROOM WITHOUT WALLS Boning W., Bassuet A., A room without walls: optimising an outdoor music shell to maintain views and maximise reflections.

Proceedings of the Institute of Acoustics, Vol.37 Pt.3 The project appears relatively minimal in regards to its construction and form, yet demonstrates a significant degree of acoustic optimisation and contextual consideration.

In particular, suspending the structure and therefore providing a void at eye level, ensures that a vista of the natural surroundings are maintained. In effect, consolidating a dialogue between nature and the occupant through acoustics.

PRECEDENT ANALYSIS

MARSHALL DAY - ACOUSTIC DESIGN https://www.youtube.com/watch?v=zu-Q6ptE8wQ&ab_ channel=MarshallDayAcoustics Through the discussion of basic sound principles in relation to successful concert halls, the webinar provided several critical aspects to consider when designing for acoustic functionality.

In particular, the fundamental impact facets such as such as reverberation and audience sight-lines can have on the perceived success of a performance.

PRECEDENT ANALYSIS

JOHN CAGE - THE ARCHITECTURE OF SILENCE https://txt-bk.info/arthistoryII/files/J_Cage.pdf The article proved to be thought provoking in regards to how sound can manifest itself in multiple forms, not merely restricted to acoustic properties. In particular how architecture can evoke rhythmic relationships through form, composition and relation to the context. In relation to the brief, Cage’s theories posed questions about the quarried portions of the site, and how an architecture that interacts with these facets evokes a journey of sound.

CONCEPT DEVELOPMENT

PROGRAM ESTABLISHMENT Aside from merely developing an amphitheater and a museum, aspects to sustain an active site were considered. In addition, the relationships between these programs proved to be integral in the overall planning of the site.

CONCEPT DEVELOPMENT

SUSPENDED IMMERSION - INITIAL IDEA A primary idea of immersing the occupant in a field of sound was conceived. The thought of feeling the waves of sound across ones body, as one is immersed in an audio, visual and physical manifestation of acoustics.

For example, seeing shadows/silhouettes on walls, the occupant is part of the performance.

For example, aspects where light diminished, the occupant must follow the acoustics sources, touching the site surfaces to navigate.

For example, an exploration of heightening of different senses, through the diminishing of others.

While these aspects were initially explored and implemented to a degree, the philosophy of designing a proposal that merges into and engages with the quarried portions was explored to a greater extent.

CONCEPT DEVELOPMENT

PROVISION OF SHELTER Initially influenced by the Saline Janiche Proposal, the idea of having a shelter that provides acoustic experiences was explored.

CONCEPT APPLICATION

MASTER PLANNING + FORM The patron and service circulatory routes proved to inform the basis for the master planning. In effect, the service aspects are situated along the southern portion of the site, bordering the patron programs from East to West.

8m

CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT

MOVING FORWARD

In relation to the design of the acoustic shell, 3 geometrical aspects from assignment 1 were transposed.

Based upon feedback from the panel, further exploration of the tensile structure (of the sound museum) is critical.

This would assist in curating a clear architectural language that can be adapted across the project. For example, this structural typology and ethos should also be applied to the theatre design.

8m

RELATION TO ASSIGNMENT 1

1. An outward opening of the shell towards the audience 2. Sloped canopy that angles up in the direction of the audience

8m

3. Adaptability in geometrical form of the shell canopy, therefore able to respond to different theatrical demands.

8m

A combination of the 2 most successful geometries will be further explored in later acoustic testing.

BRIEF 03 - Interim Review

CONCEPT

SONAR

Referring to Sound Navigation and Ranging, the concept has been transposed to the physical properties and programmatic demands of the site. Through exploring an architecture that is physically and acoustically informed by the site, the overarching idea is to curate an immersive journey of sound exploration. This theme is utilised not merely to inform the various components of the brief, rather to ensure that a cohesive link between these facets is established.

CONCEPT SKETCH

PERSPECTIVE SKETCHES

OCCUPANT TRANSITION From its conception, a significant portion of the architecture is determined through the occupant’s interactions. With closer reference to the circulatory movements of the user, schematic designing in perspective provided a relatively unfiltered means regarding the establishment of an overall architectural vision. Even at such an early stage in the process, the idea of a voyage through architecture and acoustics was at the forefront.

Perspective - Museum Bridge

Perspective - Amphitheater Foyer

Perspective - Museum Workshop

Perspective - Amphitheater Seating

PHYSICAL MODEL

ITERATION 1.0_ MEMBRANE FORMS Arguably one of the most structurally informative aspects of this assignment, physical models provided an efficient and relatively accurate reflection of the properties of tensile structures. The first iteration of models consisted merely of anchoring a fabric (an elasticated stocking) at 4 points and experimenting with it’s behavior when placed under varying degrees of tension at differing points. In addition to the structural effects created, the resulting architectural impact that these profiles would serve was constantly taken into account.

MASTER PLANNING

ITERATION 1.0_2.0_3.0 The cyclic interchanging between designing in the digital and physical realms was also applied to the overall configuration of the site. In order to create logical, cohesive relationships between the various programs, the respective elements were constantly reconfigured and relocated to facilitate this. In particular, the amphitheater demanded the greatest degree of programmatic attention due to its greater demand for both front and back of house services.

Iteration 1.0

Iteration 2.0

Iteration 3.0

PHYSICAL MODEL

ITERATION 2.0_ SITE SPECIFIC MEMBRANE FORMS Through applying a series of the forms discovered in the first modeling iteration to a scale model of the site, a more accurate reflection of the desired architectural effect was produced. For example, aspects such as light, tectonics and form were able to be visualised with greater clarity, in part due to the scale.

MUSEUM MODEL PLAN

MUSEUM MODEL PERSPECTIVES_EXTERIOR

MUSEUM MODEL PERSPECTIVES_INTERIOR

STRUCTURAL PRECEDENT

FREI OTTO - MUNICH OLYMPIC PAVILION

Otto, Frei. Frei Otto : complete works : lightweight construction, natural design / edited by Winfried Nerdinger ; in collaboration with Irene Meissner, Eberhard Möller, Mirjana Grdanjski.Basel ; Boston : Birkhäuser, [2005]

A pioneer in the design and execution of large scale tensile structures, Frei Otto provides an accurate point of reference.

With particular reference to the Munich Olympic Pavilion, the structure permits expansive coverage whilst possessing a lightweight, expressive architecture. This precedent would be of greater use during the final stages of the project, when a finer expression of detailing is required.

STRUCTURAL PRECEDENT

SUSPENSION FOOTBRIDGE

Allen & Zalewski, Form and Forces: Designing Efficient, Expressive Structures, https://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=698653

A major component of the design features a centralized walkway. The precedent serves as an example of the simple yet effective design of a pedestrian bridge. With particular reference with to how the bridge could amplify the sounds of the occupants, suspension of the structure between primary structural elements should be explored in the final design.

PHYSICAL MODEL

ITERATION 3.0_ MEMBRANE FORMS_DEPRESSIONS + ELEVATIONS In addition to providing shelter across the site, the membrane forms were explored in regards to how such depressions and elevations can inform occupant circulation.

For example, a pair of depressions resemble a centralized an archway, gesturing towards a potential opening.

MODEL PERSPECTIVES_STRUCTURAL REFLECTIONS

PHYSICAL MODEL

ITERATION 4.0_ SITE SPECIFIC MEMBRANE FORMS_REFLECTOR Upon further development of the idea of implementing an architecture that reflects sound between various portions of the site, it was critical to consider that the tensile membrane alone does not provide an efficient means to do so. Therefore, through the incorporation of denser materials, in this instance, plywood, was explored. The implementation of a plywood sound reflector was achieved through suspending it between the membrane and the ground, providing a relatively rigid material with a dimension of weightlessness. Furthermore, the membrane itself responds to the form of the plywood, assisting a cohesive relationship between the two elements.

MODEL PERSPECTIVES_TIMBER PANEL

PHYSICAL MODEL

ITERATION 4.0_ SITE SPECIFIC MEMBRANE FORMS_FOYER In this stage, explored forms from Model Iteration 3.0 were transposed into the site.

In particular, depressions in the membrane as a means of highlighting entrances were used in relation to the amphitheater foyer and primary entrance. However, this scheme was eventually abandoned as it demanded an excessive degree of the membrane structure to create effects that could be achieved through simpler and more sustainable means. For the final assignment, elements from this scheme could be reinstated on a smaller yet more curated scale.

MODEL PERSPECTIVES_AMPHITHEATER FOYER

PHYSICAL MODEL

ITERATION 4.0_ SITE SPECIFIC MEMBRANE FORMS_GRID-SHELL As opposed to utilising a tensile structure for the amphitheater shell, the incorporation of a structural grid-shell provided an architectonic distinction between the two primary programs. In this stage, the architecture’s ability to nestle into the site, express structural form and diffuse light were considered. In order to create a functional link between the membrane and grid-shell structure, the shell was to be clad in translucent material, enhancing the theatrical effects of natural and artificial light.

However, the form proved to be suboptimal in regards to the amplification of sound, therefore a secondary, internal shell was later applied , creating a double shelled structure.

MODEL PERSPECTIVES_STAGE GRIDSHELL

MODEL 4.0 _PLAN

PHYSICAL MODEL

THE PROCESS

As typical with physical modeling, the process involved a significant degree of trial and error. Aspects such as DIY steambending timber through a collection of espresso mugs and bowls proved to be the most challenging yet rewarding. Above all, the physical modeling proved to be extremely informative in not only visualizing the architectural effect of the spaces designed, but also filtered through which aspects could structurally function in reality.

MODEL PROCESS

Standard Deviation - Sound Source 2 - Back

01

5

10

25 A

AMPHITHEATER SECTION - 1:200 @A1 - C-C

ORIGINAL SHELL FORM

50 B

SECONDARY SHELL FORM

C Standard Deviation - Sound Source 1 - Front

DIGITAL MODEL

ACOUSTIC OPTIMISATION .

Despite finding a grid-shell form through physical model-making, it’s base geometry proved to project sound downwards as opposed to outwards. In effect, the conical shell form proved to be suboptimal in regards to the amplification of sound, therefore a secondary, internal shell was later applied , creating a double shelled structure. The secondary shell enabled sound to be projected across the audience area with a lower standard deviation of sound. In regards to the optimal solution, the shell that possessed the least difference between the stanrd deviations of the respective sound sources was selected, Solution A.

Solution A SD Front = 5.0

Solution B SD Back = 4.08

SD Front = 5.11

Solution C SD Back = 4.07

ACOUSTIC OPTIMISATION - MULTI-OBJECTIVE EVOLUTIONARY SOLVER

SD Front = 5.07

SD Back = 4.11

BRIEF 04 - Final Review

ONDIT QUARRY

2021

SONAR

FESTIVAL ACOUSTIC IMMERSION

Legend 1. Patron Parking 2. BOH Parking 3. Primary Entrance 4. Nature Walk

5. Sound Museum 6. Sound Museum Workshop 7. Ampitheater Amenities 8. Ampitheater

4 3 1

5

6

2

MASTER PLAN

7

8

LEGEND AVERAGE TEMPERATURE AVERAGE RAINFALL MUSEUM AMPHITHEATER

SOUND MUSEUM_INDOOR

NATURE

FESTIVAL_OUTDOOR CAFE/BAR_INDOOR DEGREE OF USE

NATURE WALK_OUTDOOR

BIRD OBSERVATORY_OUTDOOR

THEATRE PRODUCTION_INDOOR

EXPANDED PROGRAM VS TIME

OUTDOOR SUITABILITY mm °C

80 25

70 20

60 15

CLIMATIC CONDITIONS VS TIME

DECEMBER

OCTOBER

SEPTEMBER

NOVEMBER

MONTH

AUGUST

JULY

JUNE

MAY

0

APRIL

30

MARCH

5

FEBRUARY

40

JANUARY

50 10

CONCEPT SKETCH

OVERALL AXONOMETRIC

SOUND MUSEUM - MODEL PLAN

SOUND MUSEUM - MODEL PERSPECTIVES

Legend 1. Patron Entrance Hut 2. Suspended Walkway 3. Museum Workshop 4. Museum Storage 5. Temporary Exhibition Space 6. Loading Zone 7. Stage BOH - Stage Sets 8. Cafe/Restaurant 9. Cafe/Bar 10. Service Kitchen 11. Toilets 12. Merchandise 13. Ticket Office 14. Amphitheater 15. Stage BOH - Artists + Staff

1

A

2

10

A

9

11

8

12

5 13

C

B 3

14 6

4

15

7

B C

0

SOUND MUSEUM + AMPHITHEATER PLAN

10

20

50

DETAIL A

DETAIL B

SOUND MUSEUM - SECTION A-A

SOUND MUSEUM - ACOUSTIC PANEL - DETAIL A

SOUND MUSEUM - MEMBRANE COLUMN - DETAIL B

Legend 1. Reception 2. Cafe 3. Suspended Walkway 4. Museum Storage 5. Temporary Exhibition Space 6. Toilets 7. Loading Zone 8. Museum Workshop

3

SOUND MUSEUM - PRIMARY ENTRANCE PLAN

5

8

7

4

SOUND MUSEUM - WORKSHOP PLAN

SOUND MUSEUM - MODEL PERSPECTIVES

SOUND MUSEUM - WORKSHOP SECTION - B-B

AMPHITHEATER - MODEL PERSPECTIVES

Standard Deviation - Sound Source 2 - Back

01

5

10

25

50 A

AMPHITHEATER SECTION - 1:200 @A1 - C-C

B C Standard Deviation - Sound Source 1 - Front

Solution A SD Front = 5.0

Solution B SD Back = 4.08

SD Front = 5.11

Solution C SD Back = 4.07

ACOUSTIC OPTIMISATION - MULTI-OBJECTIVE EVOLUTIONARY SOLVER

SD Front = 5.07

SD Back = 4.11

Legend 1. Museum Workshop 5. Temporary Exhibition Space 6. Loading Zone 7. Stage BOH - Stage Sets 8. Cafe/Restaurant 9. Cafe/Bar 10. Service Kitchen 11. Toilets 12. Merchandise 13. Ticket Office 14. Amphitheater 15. Stage BOH - Artists + Staff

10 9

11

8

12

13

1

7

AMPHITHEATER + AMENITIES PLAN

14

15

0

1

5

10

Legend 1.Scene Store 2. Scene Store 3.Loading Zone 4. Stage 5. Toilets 6. Locker/Change-room 7. Costume Room 8. Makeup Room 9. Staff Office 10. Rehearsal Room A 11. Rehearsal Room B 12. Greenroom 13. Ticket Office 14. Patron Seating

13

9

8 12 7 11 7

D

1 3

6 4

14

5 5

10

10

2

D

AMPHITHEATER PLAN - GROUND CUT

0

1

5

10

Legend 1.Scene Store 2. Scene Store 3.Loading Zone 4. Stage 5. Toilets 6. Patron Seating 7. Stage Amenity Service Storage 8. Conference Room 9. Journalist Room 10. Technical Room 11. Performer Storage - Excess

5

7

8

9

10

1 3

4

10

6

11

2

AMPHITHEATER PLAN - 1ST FLOOR CUT

0

1

5

10

AMPHITHEATER SECTION C-C

AMPHITHEATER SECTION C-C

AMPHITHEATER SECTION D-D

SHELL CLADDING + STRUCTURE - DETAIL C