Benjamin Sayers - M.Arch Thesis Project (Studio 2)

SOUND MIND: THE FUTURE CAMPUS ADAM CHOWN, BEN SAYERS, DAN CRUSE ST2 PORTFOLIO

THESIS STATEMENT “If we continue to neglect the interconnected relation between space, activity and sound, we will most certainly fail to create sustainable urban development where the sonic environment is included as an important and self-evident aspect of the human experience.� Hallgren (2012)

THE PROBLEM

METHODOLOGY

SOLUTION

Increased environmental noise in urban areas has a direct correlation with increased mental illnesses.

We aim to use methods and lessons from the pavilion experimentation to design a building scale project.

Our solution is to develop a multi-faceted noise preventative framework which can be utilised on other scaled projects.

INTRODUCTION This project leads on from the experimentation of mental health prevention through sound therapy within a pavilion. We aim to tackle multiple ways environmental noise can be eradicated through different design methods at the building scale. The methods could potentially see application for new build or re-use of urban scale or occupancy scale projects.

4

0.1

01

CONTENTS

04 STRATEGY

APPROACH

Thesis Context This portfolio builds upon our previous research in acoustic application for the benefit of mental health. Our thesis takes experimentation from a pavilion test bed to a building in an urban context.

Understanding how sound can be manipulated at a building scale effectively.

The identification of ways in which computational methods can leverage the development of our architectural project.

02 PROBLEM IDENTIFICATION

05 DESIGN CONSIDERATIONS Privacy

SYSTEM CONNECTIONS

Privacy

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TemperatureIncreased Control Daylight

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SYSTEM WIDE INTERACTIONS

eig h ta We discuss a key issue in a much larger landscape than nthe site. A narrower topic for discussion is identified as a major cause and a variety of solutions are explored.

Noise

t

Describing the process of creating a system for design implementation Noise Increased Ventilation Prevention

Prevention

03 CONTEXT Understanding the context in which our site sits.

06 METHOD View Availability

Increased Ventilation

View Availability

Testing and optimising the solutions created by the system in the design space.

1.0 2.0 3.0 4.0

APPROACH

PROBLEM IDENTIFICATION

CONTEXT

STRATEGY

In this chapter, we explore the computational theories which we will be using to inform our methods.

Similarly to ST1, we will be utilising generative design methods, but within a framework of other computational theories.

HOW CAN COMPUTATIONAL TOOLS INFLUENCE THE DESIGN PROCESS? In this section we build upon our knowledge of generative design from our pavilion experimentation to further our computation competence, in order to better inform our design.

Optimisation Problem

P Start

GENERATIVE DESIGN

Start

WEIGHT

MATERIAL

Generate Initial Population

Input Parameter

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1.1

4

How do Machines Replicate Natural Evolution?

Calculate Individual Fitness

The generative design process consists of four key stages: design, performance

Stage

Max

Does Yes Generation Satisfy Stop Criteria? Deformation

The diagram on the right describes this outline of the process. The diagram on the left explains these sections in more detail.

In our process, we target an problem we’d

Min

like to solve, and create a parametric

No

design which can adapt evolutionary -

1 2

Performance Metrics

The design of a series of performance metrics which can be used to measure the performance of a single design.

End

Objective Functions

metrics, exploration and data investigation.

Stage

Design

The design of a geometric model which can create many design variations.

Stage

3

Exploration

The exploration of the model’s design space through a MOGA (multi-objective genetic algorithm).

Objective

functions

and

Constraint Functions

summarised as the design stage.

Random Selection of ParentsHEIGHT

constraint

<4

functions determine the makeup of the

Crossover to Produce Children

design space, therefore the performance

Evolutionary Process

metrics of the design.

PP

is a human element and cannot be carried

End

out using computational functions, as it parametric prioritiies.

in the direct analysis section https://medium.com/

? ?

?

? ? ? ?

?

?

?

P P P P P

Direct Analysis

demands the weighing up of a number of

number of different methods, demonstrated

4

Mutation of Children

The exploration of the iterations produced

The data investigation can come through a

Stage

Data Investigation

The investigation of the resulting design data through statistical analysis.

Generation

8

An initial population is randomly generated with a sparse variety of genomes/phenomes. A small segment of these solutions will be suitable to carry forward.

1.2

GENETIC ALGORITHMS How can we Automate Generative Design with Computation?

To carry out an evolutionary process with the use of computation, each function of the generative process must be written in code. The total process of this can be described as â&#x20AC;&#x153;Genetic Algorithms.â&#x20AC;?

Start Generation Generation

Crossover Parent 1 P1 C

P2

Parent 1

Calculate Individual Fitness

Child

Crossover

Crossover Selection

In our project, an initial group of designs will be generated and their fitness values are calculated. Depending on their fitness value, a feedback loop of random selection, breeding and mutation is implemented until a suitable design iteration is found.

This is not a fully automated process and requires human input to decide which design iterations are suitable.

Phenomes are selected from two individual solutions (parents) and crossed over to create the next generation (child) which takes phenotypes from both parents.

Generate Initial Population

Using a set of performance metrics we can decide which phenotype are most desirable in the specific environment.

These individuals are classed as suitable and selected for further crossovers.

Selection Mutation Finally, a minority of children will mutate, which develops a larger gene pool, in which new phenomes developed can be carried into later generations.

Yes

End

No

Random Selection of Parents Crossover to Produce Children

Selection

Mutation Mutation

Does Generation Satisfy Stop Criteria?

Mutation of Children

Evolutionary Process

9

1.3

EXPLORING THE DESIGN SPACE The Human Interaction with Generative Design With the creation of the design space in mind, we created a design space which holds a balance of bias and variance, continuity and complexity, exploration and exploitation.

In this exploration, we decide on our spatial configuration in which the spheres represent our desired spaces. With a balanced design space, we were able to generate around 100 iterations which gave enough variety.

Using certain tools we can filter through a large number of iterations by defining what the desired outcome should be.

By selected more suitable solutions, we can carry a strong ‘gene pool’ to the next stage of the process.

https://medium.com/

Generate

Evaluate

Evolve

We must designate a ‘design space’ as a closed system which can generate all possible solutions for the design

This develops measures in which the system judges each design performance.

The use of evolutionary algorithms to search through the design space and select unique high performing designs.

Finite Element Analysis Method

10

Finite element analysis sums up the performance of a design element using small discrete elements. This is typically used in structural analysis but is also a useful way of measuring sound on a 2D plane.

1.4

PERFORMANCE METRICS

Static Methods

How can we Measure our Design

Ray Based and Graph Based Methods Ray based analysis measures rays projected from an emmitting source. The way the rays react with itâ&#x20AC;&#x2122;s environment can be measured.

In our method, rays would represent sound waves, and their reflection dynamics can be analysed.

Creating the design space only delivers half the requirements of the optimisation algorithm. The algorithm needs to know what a successful iteration is and what an unsuccessful iteration is.

Performance metrics can be categorised

Physics Based Solvers and Computational Fluid Dynamics

through static and simulation methods.

Generative

design

searches

through

hundreds of iterations in a relatively

This level of design assessment is far too complex for generative design. It calculates the performance of an object with all the forces within the environment acting upon it, to put it in a state of equilibirum.

short period of time, which requires static methods of analysis.

For sound testing analysis, finite element analysis is a good method for measuring sound distribution on a plane (plan or section) at the beginning and end of a generative process. However, ray based methods allow for more precise manipulation as well as a better understanding of how the sound behaves in 3D space.

https://medium.com/

Simulating Performance

Crowd Simulation This method of analysis is useful when studying social interactions within a defined space, but is also too complex for generative design. Simulations can be designed so agents assume human characteristics in order to predict how people navigate within a space for testing before building physical environments

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1.5

DESIGN OPTIMISATION

Parameters = X, Y and Z axis

How do we Find High Performing Solutions?

Objectives = Minimise the volume of the box around the box inside

Once we have a design space which

Vector of Input Data

Objective Functions

Constraint Functions

Input parameters that encompass every possible output

The objectives/goals of the optimisation

Constraints describe the feasibility of the possible solutions

has correct input variability and output measurement, we need an optimisation process which replicated that in the natural evolution, in order to find a variety of high performing designs.

The optmisation process is defined by these

z

three stages: 1) input data which describes each iteration within the design space.

2) objective functions which outline the desired outcome of the model. 3) constraint functions which assesses the viability of each design using performance metrics.

Som ‘optimisation problems’ can be solved directly using genetic algorthms, however most of the time, a design will have to be optimised incrementally.

For our design, we’ll need to optimise in multiple steps, as we describe in more detail later, because our design will have multiple optimisation problems.

https://medium.com/

x

y

Constraints = Maintain the volume of the internal box

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1.6

COMPLEX ADAPTIVE SYSTEMS What is a Complex Adapative System?

A complex adaptive system is a system in which a perfect understanding of individual parts and interactions does not auatomatically convey a pefect understanding of the whole systems

The CAS Dismantled

behaviour. each individual agent interacts and creates system wide patterns this will then influence the future interactions and the loop will continue, meaning the final ouput will not be clear through the input.

Volume

Effectiveness

Porosity

Void

Proximity

Transportation

Vertical layers

Function

Accessibility Horitzontal layers SYSTEM CONNECTIONS

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1.7

SMART SOLUTIONS

Management System Air Quality/ Pollution

A Smart approach to acoustics management and planning in urban areas.

Park Maintenance

Automation

Risk evaluation

Live Data

Connectivity

Electricity Management

Smart solutions for acoustics within an urban environment already exist through use of a range of acoustic sensors, currently used in a number of test cities accross the

Mobility Patterns

Smart City Sensor

Acoustic & Noise Levels

globe. Through using these technologies, there is a greater control and governance

Limit values

over urban acoustics. This includes access

Traffic Management

to live data feeds that can be introduced into building design during the design phase and also post occupancy. It is these

Information Building Systems Management

methods that should further reinforce a

BIG Data

Waste Management

reactive building to a constantly changing

Reactive Solutions

urban soundscape.

Quantify the results of action plans

Improve control in noisy and problematic areas

Anticipate citizen demands

Make information accessible

Feed live data into reactive building systems

Counterract the ever changing urban soundscape

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1.8

ACOUSTIC PATTERN LANGUAGE

Urban Soundscape

In the Context of Environemental Noise

Transportation/ Works

Our inventory refers to a series of connected

People Presence

â&#x20AC;&#x153;patternsâ&#x20AC;?. A pattern language is a method of describing good design practices or patterns of useful organization within a field of expertise. In the context of our study into environmental noise the pattern language is a way of understanding the different

With People Present

Without People Present

Relaxing + Nature

Lively

levels and causes of environemntal noise in an urban soundscape.

References: [2] Denef, S., 2020. A Pattern Language of Social Media Practice in Public Security.

[Online] Available at: http://media4sec.eu/pattern-language/ [Accessed 28 January 2020]. [3] Raimbault, M., 2005. Urban Sounscapes: experiences and knowledge. Elsevier, 22(05), pp. 339-350.

Cars Screeching

Noise of Workers

Engines

Music + Chat

People Walking

People Shopping

Children Playing

Birds Singing

Traffic Lights

Construction Site

Traffic Flow

Coffee Shop

Pedestrian Area

Market Place

Playground with Fountain

Garden

COMPUTATION FOR OPTIMISATION We can use the previous theories as a framework for the generative methods we learned in studio 1. The application of complex adaptive systems, smart solutions and Christopher Alexanderâ&#x20AC;&#x2122;s Pattern Language can further inform our design methods.

1.0

APPROACH

2.0 3.0 4.0 5.0

CONTEXT

PROBLEM IDENTIFICATION In this chapter, chapter we we explore explore the the bounds problemofofour mental site and health. aim We to understand also explorethe theimplications ways in which of environmental a building noise in scale project central willManchester. react differently to a pavilion project to prevent mental illnesses.

STRATEGY

DESIGN CONSIDERATIONS

HOW CAN ARCHITECTS PREVENT MENTAL ILLNESSES? In this chapter, we explore the ways in which mental illnesses are an architectural problem, and how we can go about solving these problems.

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2.1

MENTAL HEALTH Statistics 1 in 4 people experience mental illnesses each year[1]. Mental illness is the single largest burden of disease in the UK[2], being more common, longer lasting and impactful than other health conditions[3].

There are roughly 6000 suicides each year and it’s the biggest killer of men under the age of 49, with the majority of mental conditions developing within people’s adolescent years[4].

We have identified mental health as an emergent concern within today’s wider context. For this reason we aim to present a thesis project which can aid the development of mental illness prevention.

[1], [2], [3] - https://mhfaengland.org/mhfa-centre/research-and-evaluation/mental-healthstatistics/ [4] - https://www.bbc.co.uk/news/health-41125009 https://www.mentalhealth.org.uk/statistics

4.4 in 100

Post traumatic stress disorder (PTSD)

5.9 in 100

Generalised anxiety disorder

7.8 in 100

Mixed anxiety and depression

3.3 in 100

Depression

20.6 in 100

Suicidal thoughts

2.4 in 100

Phobias

6.7 in 100

Suicide attempts

1.3 in 100

OCD

7.3 in 100

Self-harm

0.6 in 100

Panic disorder

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2.2

ENVIRONMENTAL NOISE How does Environmental Noise Affect Mental Health?

Mortality

“The evidence from epidemiological studies on the association between exposure to road traffic and aircraft noise and hypertension

disease

Sleep Disturbance, Cardiovascular

in ischaemic heart disease has increased during recent years.”

Environmental noise can have negative effects due to their “micro stressor” characteristic. Similar to other small

risk factors

Blood Pressure, Cholesterol, Blood Clotting, Glucose

disturbances, the build up of these stresses can damage mental health.

“At least one million healthy life years are lost every year due to traffic related noises

stress indicators

Autonomous Response, Stress Hormones

in the western past of Europe.”

Environmental Noise and mental illnesses aren’t typically associated, despite it’s implications. This is why we aim to tackle

feelings of discomfort Annoyance, Disturbance

this problem in the wider context of mental illness prevention.

World Health Organisation - https://www.who.int/quantifying_ehimpacts/publications/e94888. pdf?ua=1

Number of People Affected

2.3

20

URBAN SOUND PLANNING Planning of the Acoustic Qualities in an Urban Environment Urban Planning does not consider sound with any significance, and as a result, creates micro-stressors in people’s lives.

“If we continue to neglect the interconnected relation between space, activity and sound, we will most certainly fail to create sustainable urban development where the sonic environment is included as an important and self-evident aspect of the human experience.” Hallgren (2012)

Architecture

Communications

Materiality Reverberation Form & Facade

Sensors Technology

Services

Communities

Construction Transport Vehicles Commercial Activity

Steps Voices Sports Activities

References https://www.unece.org/fileadmin/DAM/trans/doc/2016/wp29grb/GRB-63-05e.pdf

“We need more pronounced architectural tools to optimize the living conditions for urban inhabitants exposed to urban noise, which is causing psychoacoustic annoyance and even hearing loss. A sonically stressed population may also be productively impaired” Ponten (2009)

2.4

ACOUSTIC COMFORT

Mental Health Stress

Factors and Causes of Poor Acoustic Comfort That Have a Direct Correlation to Mental Health

Increased Disease

Factors that Drive Acoustic Comfort

21

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M

ax

?

M

in

Familiarity of Sound

Predictability of Sound

Controlabilty of Sound

Personal Preferences

being, increased risk of high blood pressure, circulatory disease, loss of efficiency due

Decreased Productivity

to illness or fatigue resulting from sleep deprivation or ineffective resting periods - caused by noise stress. therefore it is essential that environmental sound is

Fatigue

included in urban design.

Chnaging Future Environments

Stress, negative effects on health and well

Architects need to be more responsible around us changing, the levels of noise will also change. Not only this but the spectrum of different sounds will increase leaving more people susceptible to the damaging effects of harsh environmental noise.

Sleep Deprevation

Negative Wellbeing

Design Considerations

Woooosh

for acoustic design. With the environment

Vroooom

Interior

Exterior

Programme

Spectrum of Noise 2020

2070

for mitigating and controlling the urban soundscape. Many of these methods are

OUR PROJECT FO CUS

application, however there is justification for other means. These include the use of electric cars and other modes of electric transport, and community knowledge of noise pollution. We will focus our

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controlling and manipulating internal and

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Architectural & NonArchitectural Ways of Treating and Mitigating Environmental Noise in an Urban Setting

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ON I T A G I T I OTHER M

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ENVIRONMENTAL NOISE WILL ALWAYS BE A PROBLEM It may seem counter-intuitive to combat environmental noise with architecture, with the largest proponent being traffic noise, however the issue of environmental noise will remain through numerous ways after vehicles have become fully electric.

1.0 2.0

APPROACH

PROBLEM IDENTIFICATION

3.0 4.0 5.0 6.0

STRATEGY

CONTEXT In this chapter we explore the bounds of our site and aim to understand the implications of environmental noise in central Manchester.

DESIGN CONSIDERATIONS

METHOD

WHAT DID WE LEARN IN STUDIO 1?

Our main area of focus was to use the pavilion as an experimentation for methods and design processes to be used at a larger scale.

26

3.1

THE CONTEMPORARY PAVILION Sylvia Lavin on the Contemporary Pavilion Sylvia Lavin identifies two key aspects in which the pavilion can be successful: by

THE CONTEMPORARY PAVILION

N O I L I V ST PA

THE FUTURE PA VILION

A THE P

taking inspiration from previous pavilions as an experimentation for future projects, and for the close collaboration between

Architect

Architect

Architect

Artist

the artist and architect. “generate a complex interaction between art and architecture that produces objects, of which the pavilion might be one, that

Pavilion

Pavilion

seek to be situated within complex and extensive networks.”

We are designing a pavilion for experimentation purposes, and aim to use what we’ve learned to inform our thesis project.

Project

Project

Project

ProjectP

Pavilion

roject

Project

Project

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10.10

TITLE SUBTITLE Text

References

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10.10

TITLE SUBTITLE Text

References

THE SOUND MIND PAVILION We were able to successfully simulate the correct sound manipulation within our pavilion and therefore succeeding in our experimentation to design a pavilion which can combat mental illnesses through sound therapy.

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3.2

SITE PHOTOS John Dalton West Building and Immediate Context These photos shows the existing John Dalton West building situated on the proposed site. This site already has already been considered for future development by the MMU Estates team, of which we are using as a driver for our building proposal.

The John Dalton Tower is also seen with its connection to John Dalton West, which is to be renovated and remodelled for future development. These photos also show the sites relation to the busy Oxford Road and access road, Chester Street.

CO RR IDO R OX FO RD RO AD

31

3.3

ACCESS ANALYSIS

CURRENT DEVELOPMENT

Access

Toware d

buisnes

Mixed use Residential and Commercial units

s schoo

l

How do People Access the Site?

PROPOSED SITE CO RR IDO R

John Dalton East

Studying the site around the John Dalton building site allows us to map areas of

OX FO RD RO AD

high environmental noise. the areas we have identified are subject to change due during the day so will need considerations at different times of the day and different

FUTURE DEVELOPMENT

Science and Engineering

days of the week.

By

MAN

CUNI

AN W AY CUNI AN W AY FUTURE DEVELOPMENT

mapping the sources of harmful

MAN

environmental noise we can establish a

CO RR IDO R

grid from which we can map noise data, which will be used later on in the testing stages of design.

OX FO RD RO AD

ALL SAINTS PARK

Public Outdoor Space

BUS STOPS

Center for Sporting Excellence

CAR PARKING

AREAS OF HIGH PEDESTRIAN ACTIVITY

AREAS OF HIGH TRAFFIC

CONSTRUCTION SITES

AREAS OF HIGH ENVIRONMENTAL NOISE

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3.4

CHANGING CLIMATE

NNW

How Will Small, Daily Trends Form The Materiality?

N

NW

NNE 1000

The micro and macro climate changes

NWW

around the site happen from hour to hour,

NE

day to day, week to week. Temperature,

100

rainfall, wind speed and seasons all change at different rates and with different ferocities.

NEE

W

Designing a building that can take into account all of these changes as they happen is an important design consideration when considering human comfort within buildings.

SWW

E

SW

SEE

SSW

SE S

SSE

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3.5

DAILY CLIMATE VARIANCE

NIGHT

January 1st and July 1st from 12am to 12pm

2.0% 3.0%

to demonstrate the changes in months but

1.5% 2.5%

also the changes that occur hourly. the two graphs show temperature change and

1.0% 2.0% 0.5% 1.5%

precipitation. Data like this is essential in

0.0% 1.0%

designing for human comfort and wellbeing.

0.5%

temperature

changes

to

an

0.0%

9AM

4AM NIGHT 4.4%

3.5% 4.5% 3.0% 4.0% 2.5% 3.5%

the

NIGHT

NIGHT

HOURLY SHARE OF PRECIPITATION JANUARY 1

4.0%

The two tables shows climate data from

If

DAY

DAY

NIGHT

7.0% 4.5%

How Will Small, Daily Trends Form The Materiality?

HOURLY SHARE OF PRECIPITATION ON JULY 1

HOURLY SHARE OF PRECIPITATION JANUARY 1

3.9%

DAY

4.2%

NIGHT

9AM

4AM

4.2%

3.9%

4.4%

12AM

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

12AM

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

6.0% 7.0% 5.0% 6.0% 4.0% 5.0% 3.0% 4.0% 2.0% 3.0% 1.0% 2.0% 0.0% 12AM 1.0% 0.0%

NIGHT

HOURLY SHARE OF PRECIPITATION ON JULY 1 1PM DAY 6.4%

NIGHT

1PM 6.4%

4.2%

2AM 2.7%

4.2%

Rain

2AM 2.7% Rain

12AM

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

uncomfotable level we want the building TEMPERATURE BANDS ON JANUARY 1

skin to be able to adapt to this change maintaining comfortable environments

100%

NIGHT

TEMPERATURE BANDS ON JANUARY 1 COMFORTABLE

COLD NIGHT

DAY

COLD COOL

40% 0%

NIGHT

WARM

COOL

80% 40% 60% 20%

20%

NIGHT

WARM

inside.

80% 100% 60%

TEMPERATURE BANDS ON JULY 1

DAY

COMFORTABLE

VERY COLD

COLD

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

COLD

0% 12AM

-10*C

FREEZING

3AM

-10*C

0*C

6AM

0*C

7*C

9AM

7*C

12*C

12*C

18*C

12PM

18*C

3PM

20% 0% 40% 20% 60%

FREEZING VERY COLD

12AM

0%

23*C

29*C

6PM

23*C

29*C

35*C

9PM

35*C

12AM

100% 80% 100% 60%

40% 80%

80% 40% 60% 20%

60% 100%

40% 0%

80%

20%

100%

NIGHT

DAY

NIGHT

WARM

TEMPERATURECOMFORTABLE BANDS ON JULY 1 NIGHT

DAY

NIGHT

WARM

COOL

COMFORTABLE

40% 80% COLD

3AM

6AM

9AM

12PM

3PM

6PM

9PM

12AM

COLD

0% 12AM

-10*C

0*C

7*C

12*C

-10*C

0*C

7*C

12*C

3AM

20% 0% 40% 20% 60%

COOL

12AM

0%

6AM

9AM

18*C

12PM

18*C

3PM

23*C

29*C

23*C

29*C

6PM

35*C

9PM

35*C

12AM

60% 100% 80% 100%

34

3.6

People Affected By Noise From Specific Source At Home Or In Local Neighbourhood

2007 Data 2016 Data

0%

ENVIRONMENTAL STRESSORS

Road Traffic - Individual Vehicles Residential Neighbours Construction Road Traffic - Busy Roads Aircraft Audible Alarms Trams or Trains Sports or Recreation Farming Music of Entertainment Venues Factories or Industry Shops, Restaurants or other Businesses Ports, Boats or Shipping

What Are The Main Causes Of Stress?

5%

Key Urban Environmental Noise Contributors Environmental Stressors Not Encountered in Urban Setting AircraftAircraft Taking Off (25m)Off 130-140 Taking (25m) Music Venues - 95-117 Music Venues Chain Saw - 102-114 Chain Saw Airplanes (2 mi) - 95-110 Factories or Industry 95-110 Airplanes (2 mi) Construction Site - 90-108 Factories or -Industry Underground Train 80-115 Audible Alarms 85-110 Construction Site Snow Mobile - 85-108 Underground Train Motorcycle - 80-110 Audible Alarms Power Boat - 73-115 Power Tools 65-110 Snow Mobile Power Lawnmower - 80-95 Motorcycle Heavy Truck - 77-88 Ports & Shipping - 55-98 Power Boat Road Traffic - Individual Vehicles - 60-90 Power Tools Road Traffic - Busy Roads - 60-90 Power Lawnmower Food Blender - 63-87 Toilet Flush - 70-80 Heavy Truck Vacuum Cleaner - 60-85 Ports & Shipping Shops, Restaurants or other Businesses - 65-80 Sports -orIndividual RecreationVehicles - 50-80 Road Traffic Air Conditioner Road Traffic - Unit Busy- 60-72 Roads Washing Machine - 47-78 Food Blender Residential Neighbours - 35-55 Light Rain Toilet38-43 Flush Soft Whisper (5ft away) - 33-45 Vacuum Cleaner Library - 13-25

ENVIRONMENTAL NOISE SOURCES

30%

Shops, Restaurants or Other Businesses Sports or Recreation Air Conditioner Unit Washing Machine Residential Neghbours

15%

25%

Light Rain Soft Whisper (5ft away) Library

0

10

Source - (Environmental Protection Authority Victoria (2018) (Strahan Research 2007)

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60

70

80

90

100

110

120

130

140

10%

20%

35

3.7

78.4

60.5 60.8

NOISE MAPPING

75.8 69.3

59.2 62.6

2pm Weekday Analysis

72.7 77.1

67.5

66.6

We took readings averging 60 seconds at 70.0

key nodes around the urban site, as well as

67.6

67.3

the building scale and occupancy sites in

64.8

71.4 57.0

66.3

order to map the environmental noise on

54.3

site with greater accuracy.

66.6

60.4 57.0

63.9

70.0

The readings we took confirmed the

63.7

70.8

carriageways in Manchester: Princess

69.6

67.1

Road, Mancunian Way and Oxford Road.

71.8

72.7

62.4

With this analysis we can have the building

67.2

respond appropriately to the surrounding 69.0

65.3

66.4

74.4

55.7

64.5

69.6

58.1

72.1

65.2

55.6

57.8 58.8

67.5

66.8

69.3 71.4 68.2

75.3

62.7

59.0

61.6

noisiest areas were all beside the main

environmental noise.

59.6

72.7

67.2

Weekend

Weekday

3.8

36

ENVIRONMENTAL NOISE DATA

9am

In Depth Analysis We carried out a more in depth survey once we had decided to continue our research at the building scale.

12pm

Shown on the large noise map is an enlarged version of the 9am weekday map, are all the points where we took readings.

We aimed to take readings at a fixed grid around the site and took readings at key nodes further afield, to get a more accurate representation of noise in the area.

3pm

We took readings at 5 equal intervals throughout the day to understand how much the noise levels vary, and took readings from the same places on a business day and a non-business day.

Noise readings are represented by the blue

6pm

dots.

45dB

55dB

65dB

75dB

85dB

9pm

120

Daytime

100

70 60 50 120

In the busy melting pot of noise surrounding our site, a number of sources can be found. To be able to combat noise as a

80 70 60

Frequency (Hz)

Road traffic is amongst the larger contributors, as the site sits adjacent to Mancunian way and Oxford road.

traffic to Manchester Airport respectively.

1k

10k

100k

Frequency (Hz) Key:

Sample B

Whole Range of Noise on Site

Sample C

1616 2020 2525

1313

10000 10000 10000 12500 12500 12500 15000 15000 15000 20000 20000 20000

315

110 110 100100 90 90 80 80 70 70 60 60 50 50

60 650 80 800 10 1000 125 1250 150 200 1500 250 2000 315 2500 400 3000 500 4000 650 800 5000 1000 6500

Prominent Noise Levels 16 20 25 30 40 50 60 80 10 125 150 13 16 200 20 250 25 315 30 400 40 50 500

Sample A

13

650 650 400 800 800 500 1000 1000 650 800 1250 1250 1000 1500 1500 1250 2000 2000 1500 2500 2500 2000 3000 3000 2500 3000 4000 4000 4000 5000 5000 5000 6500 6500 6500 8000 8000 8000

120120

Key:

Range of Environmental Noise

Recommended Noise Levels

50 50

1250

100

60 60

8000 1500 10000 2000 2500 12500 3000 15000 4000 20000 5000

10

0

70 70

Level (dB)

Oxford road development plans and air

90 90

Nighttime

25

large contributors due to Manchesterâ&#x20AC;&#x2122;s

100100

80 80

Non-Business Day

Construction and Airplane noise are also

120120 110 110

8000 8000 10000 10000 12500 12500 15000 15000 20000 20000

WHO recommended 50 noise level (56 dB)

6500 13 8000 16 10000 20 12500 25 15000 20000 30

frequencies.

50

Daytime

13 16 20 25 30 40 50 60 80 10 125 150 200 250 315 400 500 650 800 1000 1250 1500 2000 2500 3000 4000 5000 6500 1313 8000 1616 10000 2020 12500 2525 15000 30 30 20000

to design for the prevention of specific

90

315

and understand their acoustic properties

100

650 400 800 500 650 1000 800 1250 1000 1500 1250 2000 1500 2500 2000 2500 3000 3000 4000 4000 5000 5000 6500 6500

sources are permenant issues for the site

110

Decibel (dB)

75

whole, we need to identify which of these

80

40 40 13 50 50 16 20 6060 25 8080 30 10 10 40 125 125 50 60 150 150 80 200 200 10 250 250 125 315 315 150 400 400 200 250 500 500

Where is the Site Noise Coming From?

90

Level (dB)

125

100

Nighttime

SITE NOISE CATEGORISATION

110

13 40 16 50 20 60 25 80 30 10 40 50 125 60 150 80 200 10 250 125 315 150 200 400 250 500

3.9

Business Day

37

150

POLITICAL

38

3.10

PEST ANALYSIS How Will Larger Trends Of Politics, Economics, Social, And Technological Change Form The Geometry?

. Increased government funding on infrastructure . Changes in policy surrounding vehicle emissions . Increase in electric public transport . Tariffs on electrical power change

cultural and technological factors can affect the context in which our building is situated.

Changes in political policies, technological and

changes

. Changes in the inflation rates . Changes in government funding towards electric public transport . Changes in the cities economic outlook . Changes in economic growth

PE ST

Analysing how political, economic, socio-

advancements

ECONOMIC

in

demographics all need to be considered.

Our proposal needs to be adaptive in the way we approach urban acoustics.

. Increase in student population . Increased road traffic along Oxford road . Changes in the area demographics

. Developments in electric transport . Developments in acoustic urban design . Developments in Acoustic facade design . Government technology incentives . Smart city development

SOCIAL

TECHNOLOGICAL

39

3.11

GREEN SPACE Southern Manchester’s Green Problem We’ve identified a lack of green space in the context of our urban region, south Manchester.

From this brief study we believe that adding to the overall ‘green density’ of the city would be a beneficial trajectory for our design proposal.

PUBLIC PARK

PLAYING FIELD

SPORTS FACILITIES

PLAY SPACE

RELIGIOUS

40

3.12

TYPOLOGIES An Urban Block Study Weâ&#x20AC;&#x2122;ve identified a large proportion of the surrounding area consists of the courtyard block and the mid-rise block, with the rest being mainly terraced housing, semidetached and detached housing, and a small number of tower blocks.

We will be taking a few of these typologies and testing them later on in the development.

TERRACE

COURTYARD BLOCK

TOWER BLOCK

MID-RISE BLOCK

SEMI-DETACHED

DETACHED

o

1

24

A to c

54

14

n to

11

26 1

56

36

5

13

38

to

13 3

bert Lam

36

to

38

10

Sackville Street Building

Rising Bollard

12

Barbirolli Square

94 96

Posts

55

44

57

Sackville Place

59

Bombay House

St James's Buildings

Multistorey

48

71

Car Park

Shelter

61

3

elte

7

Sh

73

Canada House

65 50

PH

115

Multistorey Car Park

79

Beetham Tower

r

100

60

100

SM

Moffat Building

67 69

1 to

80

Hall

urt Wright Robinson Hall

2

1

61

93

4

to

Barnes Wallis Building

63 1a

82

20

75

to 16 50 88a 66

76

56

60

to

88

77

Plac e

ESS

Morton Laboratory

Renold Building

a

84

The Garratt (PH) es Lig

86a

86

Jam

Manchester House 86 84

Multistorey Car Park

The Mill

c

Car Park b

elter

Sh

70

The Ritz

Posts

4

SM

Posts

09

Cycle Way

74 to 72

Parking

Manchester Oxford Road

PH

e

ss

Cycle PH

ers elt

Sh 105

2

136

use

90

nta

na

Ho

to 94

Mo

6

3

4

6

144

12

cle

a 12

1g

1

1

y Wa

14

Gas Gov

17 37

15 35

9 29

29

14a

1a

3

2 to

6a

to

1 25 51

1

17

8a

76

19 45

Cy

15

3

13

10

Completed

1

y

b 10

Lo

27 47

17 43

11

4

9

8

9 35

n ckto t ur Co

5

Wa

2

Estate

7 33

19 7 6

8

Interdisciplinary Biocentre

27

5

6 8

7

Factory m

13

2a

Pat

h

26

(u

9

4

)

1

22

36

to

21

15 7 25

23 9

7

3 17 1 19

15 48

Wa

2

11

1

76 to

1

38

69

7

cle y

BUILDING SCALE

8

9

2

50

Hatch

Cy

SM

6

cle Wa

8

y

62

1

59

61

1 to

Silkin Court

1a

2

4

68

2

1b

Grosvenor Building

1c

SM

Posts

16

76 1

PH

10

elters

7

2

Sh

John Dalton Building

5

City South

Shelter

Car Park

Mill

Sub Sta

2b

9 27

25 11

18 6

Cy

06

5

18

ge rid mb Ca

39

01

El

3

to

9

8

15

4 to

29

16

8

1

to

Shelter

38

Lamport Court

Lumiere

42

65

27

26

Oxford House

42

23

lk

3

1

buildings get taller and the city gets denser.

Macintosh Mills

w Wa

16

Student Village 30

12

1

28

rro

Me

34

With the city developing rapidly, buildings

Industrial

b Sta

cle

Chorlton Mill 13

Downing Street

9

George Begg Building Su

8

ay W

Princess House

El

Cy

26

le

14 2

2a

The Quadrangle

24

Cyc

4

elter

Tower

13

Shelter

Theatre

Lockes Yard El Sub Sta

Manchester is a rapidly developing city; the

4

The Masdar Building

Faraday

Building 11

Vita House

03

Under Construction

Sh

S

ES

GVC

Shelter

The Pariser Building

6

08

Ps

The Foundry

ESS

Hall

4 to

15

13

1 to 9

12

Hotel

Weirs

32

ston

We

Ferranti Building

Building 10

11

One Cambridge Street 2

stle

t Ca

1

reet

Rive

07

en

4

4

e and

Centr

Manchester

60

9

The Green Building

r St

Medlock Bridge

Childrens Nursery

7

Ps

2

Nursery

Multi-storey Car Park

Car Park

rence

Confe

3

Hotspur House

Stud

Proposed Construction in Proximity to the Site

1

28

ester

Manch

1

8 to 12

14 to 32

11

ESS

2

42

House

35

1

The

of

29

38

Bracken

1 to 74

Home Manchester Arts Centre

Hotel

University

Station

Hotel

wri Go O' ) (PH

Garage

86

14

35 to 37

La

PH

35b

35a

27

33

5

41

21

2 to 11 116

2

4 17 to 19

y Wa

3

Barclay House

15

cle

Cy

1

11

PH

106

The Principal Hotel

Car Park

matics Mathe d ng an Buildi ience l Sc Socia

6 21

PH

33

71 10

11 1 to

8 lk

30

k al W aw sh en

32

H

10

ge rid mb

1 to

Ca

84

219 20

15 9

7

27 1

20

28 10

71

73 12

71

221 225

203

227 237

se

n

to

Clo

57

13

4

to

Manchester

2

70 25 to

29 31 to

247

35

28 18

74

27

to 251 153

SM

El Sub Sta

Prospects

Oxford Court

House

8

22

The Union 21

St Peters

60 to

22

SM

62

9

House

2

El Sub Sta

Victoria

6

a

82

30 3

84

84b

0

83

86

33

88 90

63

39

Victoria

Kilburn Building

Hall 4

c

92

d

47 45

92

b Sta Su

1

Devonshire House 14

8

8

Shelters

2

1

13

Manchester Business School

4b

George Kenyon

5 9

9

94

El Sub Sta

1

13

2 4

2

to 63

14

Con

180

2

52

do

Health Centre

Roscoe Building

18

8

20

University Place

104

1

29

(PH)

15

3

9

Cyc

Williamson

Building

Building

110

7

18

2

17

48

22

ESS

108

y

le Wa

12

Arthur Lewis

Trinity Court

106

17

1

5

32

Brooks Building

The Gamecock

16

24 to

2

188

42

to

16 to

186

Manchester Metropolitan University

44

51

2

184

alk rW

2

Bishops Corner

to

321

1

onry

10

102

5

onry

ing mas Slop

57

6

4

6

Jean McFarlane Building

17

17

1

FB

3

21

ing mas Slop

19

12 1 to 79 14 to

th)

J R Moore Building

Hotel

10

3

58

57

Shelters Shelter

eet (Pa

ll Str

93

Court

Play Area

Dale

Bonsa

Schuster Building

y Wa

70

y

n

Hopto

Wa

1 to

Building

cle

cle

7

12

6

Cy

4a 6

Cy

16

92

92a

1

61

b

Shelter Shelter

91

to 174

89

166

179

rch of Chu Parish ension the Asc

11

Sir Charles Groves Hall

4 to

Briarfield Hall

El

ry

House

Shelter

80

Shopping Centre

10

mason

Dunham 1 to 12

1 to 25

lter

She

ping

to 164

to

Shelter

Precinct

79

2

102

28

80

to 140 Slo

142 PO

74

St Peter's Church & Chaplaincy

12

2

126

Vine House

El Sub Sta

ESS

81

Centre

177

Rectory

8

1

175

Health

Court

14

onry

54

to 76

Hornchurch

63

92

ing mas

78 to

12

Slop

10

2 to

4 to

1 to

to 112

Elizabeth Yarwood Court

25

52

URBAN SCALE

Alan Turing Building

Hall

1

38 25

16

k

al

W

Sef

2

14

y

le

12

12

W

Ark

of

53

151

27

20

University

Crawford House

on

nt

ui

Q

Royal Northern College of Music

2

to

k

al

2

23

13

26

ilips St Ph E C of hool ry Sc Prima

29

13

University Barracks

12

12

10

12 10

215

2

4 12

2

4

2 4

2

4

11 1 to

16

Walk

National Graphene Institute

PH

48

k al W an k

an eb D

2 4 2

use Ho

to 14

23 to 13

2

5

2

8

12 2 to

2h to 2a

17 7 to

to

1

5

43 to 41 31 29 19 to

to 28

1 to

6 1 to

11

se

Hou

Humanities

ESS

2

6

4

6

Naylor

8

2a

The Rutherford Building

18

1 to

6

90

per

Coo

40

12

7

2b

15

School & Children's 1 to

112

Centre

6

14

21

14

Martenscroft Nursery

1

13

9

Shelters

The

12

7

Manchester Museum

13

9

Chemistry Building

Coupland Building

Multistorey Car Park

4 to

27

26

1

34

5

13

4

Church

13 5a 13

Zochonis Building

7

lk

st Wa

Dryhur

15

El Sub Sta

Centre 9 1 to

Robert Angus Smith Energy Centre

El Sub

Sta

Simon Building

19

9

W ay

17 7

11

1

1 3

5

6

28

Michael Smith Building

13

1

1

15

1

4

Building

4

5

r Wa lk

2

11

14

AV Hill Building

11

10

15

Eddie Newcomb 7

FB 32

House

33

3

2

9

7 to

Rising

House

William Kay

32

k r Wal

Learning Commons Posts

1

3

Bollards

2

e

nidg Was Walk

Vaughan

5

moo

Alan Gilbert

8

6

Centre

Ling

14

61 5

3

32

Student Services

10

4

13

el Adm are Squ

1

to

Carys Bannister

High School

Whitworth Hall

Heste

Lovell House

10

Dover Street Building

18

k

lan Wal

Rag

ESS

Trinity Church of England

16

lk

an Wal

Mor

FB

er Wa

7 k

cle

Pind

49 to 53

Hulme Hall

John Owens Building

2

9

Claremont

Cy

47

of Manchester

ley Eps Close

9

to

University Dental Hospital lk

k Wa

broo

How

2

43

HULME

Whitworth Building

Martin Harris Centre for Music and Drama

4

Hotel

5a

Mered

1

Junction (PH)

Beyer Building

2

7

41

112

5

70

urt ith Co

21

Aquarius Community

6

1

108

El Sub Sta

14

2

1 to

Warde

120

14

114

12

106 96 to

1

10

12 8

1

5

2

k

1

7

nda

Samuel Alexander Building

7

9

36

2

15

tre

e

n Cen

4

46

ry Lan

Christia

2

45

47

Student Union Building 70

51

y

m

2

de

Aca

14 10

55

101

10

3

6

72 to

1 to 64

Williams House

Duffield Court

Rak

22

El

14

2

tfield

Pea

100

94

2

1

9

3

k

al W

lk

ad Wa

ehe

ay

Library

Bou

6 2

10

8

10

Holy Name Church

W

1

University of Manchester 2 to

ESS

48 to

lk

th Wa

Studfor

Shelters

cle

an Wal

Oce

Cy

4

20

2

5

Turing House

Reynolds House

k

e Wal

nidg

Was

2

Hippodrome

Sloping masonry

Sloping masonry

1

Garden Centre

1

to

23

9

2

9

25

2

55

10

b Sta

Su

14

to 53

136

65

32

6 12 8 12

67

18

2

El

8

to

24

School

8

237

233 to 54

28 26

51

Business

16

1

39

4

k

1

old

13

9

8

al

45

to 10

wb

Ne

21

12

W

ll

83

2

ge

rid

Ha uth

14

1

6

2 3

kb

e So

Par

idg

81

Manchester

Chatham Building

7

23 227 to

21

74 64 to

11

mbr

a 14

Multistorey Car Park

Childrens Nursery

31 to 35

17

77 to

4

5

1

to 52

22

22 to

22 36

8

51

3

3a

89

13

33

to

35 8

2

79

23

52

49

36 to

16

50

91 to 95

2

1

Ca

Court

Shelter

Benzie Building

She

9

to

2 18

34

14

Wa k isb an

43

to 62

26

97

Kincardine

42

24 lter

6

lk

1

56 to

10

Hall

6

to

to 34

12

Cavendish

43

d Wa

oo

71

67

Place

21

32

24

46

y

Stre

Wa

38

57 to

31

dish

cle

mw

to

Broo

16

to 69

83

to

51

55

1 to

Caven

56

Cy

53

73 to

49

Union Hall Evangelical Church

40

ESS

Geoffrey Manton Building

et

ish

vend

Ca

1 to 10

lk

50

2

54

12

to

le da Elm Walk

2 to

40

41 to

26 Opal Hall

El Sub Sta

8

Walk

71

2

44

244

James

Chadwick Building

Righton

Building

PH

an Wa

alk

W

38

24

old

14 to

wb

61 to

to 39

El Sub Sta

an

48

Grosvenor Building

Manchester Aquatics Centre

Dalesm

Ha

7

Ca

Way

51

Ne

2

to 6

29

use

25

41

ym

Tennis Court

cle

Stre

Cy

ll

Ha

to

18

ish

vend

ers elt

rth

41

Walk

Posts

et

Cavendish Building

s

Sh

m

e No

idg

ha Mat

39

mbr

to

27

8 to

to

ntley

to

21

Ca

29

18

30

to 47

24

2

20 to

37

13

Be Ho

1 to

27

School Bungalow

to

3

use

60 to 70

11

Loxford

226

23

Gartside Gardens

15

Ho

55

12

Conmere Square

Wa

19

Church

Ormond Building

21

2

19

St Augustine's 9 to

13

23

45

27

to

Mo

lk

PH

11

ley

14

to

1 to

8

42

to 35

9

12

Way

25

erow Clith

21 13

10

32 to

25

11 13

OCCUPANCY SCALE

Ar

ss

7

47

to 54

23

15

to

23

to

k

Play Area

Way

13

Cy

37

44

to

1 to 24

W

Way

to 66

12

ad

34

cle

Grosvenor Square

56

13

2 to

Wa

11

5

13

72

11

15

228 to 232

0 10

low

6

Cy

Bellhouse Building

68 to

1 to

22

Ell

27

to 51

8

16

st he

12

cle

222 to

238

1

ns

lk

Hur

1

cle

Cy

PH

234 to

66

2

8

45 Walk

alk W

9 to 12

Akhtar House

Business School

Court

to 42

ow

ell

elters

Sh

y Wa

120

University SM

1

6

24 Br

igw

cle

SM

FB

to

26

12

lk

Cra

Cy

Shelter PH

12

SM

18

13

2

b Sta

PW

9

y Wa

11

cle

SM

Posts

8 to

2

Su

Cy

Sir Kenneth Green Library

1

10

Tennis Court

30

20

El

3 11

ay

Cr

r

no

ve os re e Gr Cent

Th

Manchester Metropolitan

SM

SM

to

16 29

Wa

8

1

96

98

Post

4

20

1

w

al

Parkway Gate

240 to

Schwaben House lk

vie

2

94

11

All Saints

SM

and adapt with the city.

St a

Wa

1 ge

Sugden Sports Centre

We are proposing to develop not only a

Posts

Su b

Fu lsh

Ed

3

ESS

Sandra Burslem Building

a system that can be applied across other

El

aw

Hall

y

ntr

Ga

115 To 117

building that can develop with the city but

Wad

10

6

alk

ll W

6

04

02

12

2

mi

es

9

01

Hotel

8

8 to

23

05

John Dalton West

1

need to develop with the city.

building scale projects that can develop

Holding a Planning Application

Mill Point

ng

51

ESS

Buildi

PH 88

76

70 to

80

78

Salisbury House

Excalibur Building

hthill

Locks

el

3

Deansgate

Shelter

1 to

Orient House

Hotel

PH

Way Cycle

121

Asia House

y int McG

127

Lock 90

House

52

India House

23

Granby 72

90

73

PH 97 60

PH

int

illy Po

Piccad

t anchester Ho

50

Palace Theatre

PH

Macdonald M

91

58

Bridgewater House

Velve

Granby Village

68

56

71

Lancaster House

Churchgate House

58

t Co

119

87

Car Park

Car Park

Approved or Starting Construction

PH

Bridgewater

117

The

19

CHANGING SKYLINE

Car Park

74

to

42

40

Whitworth House

Electricity Sub Station

Proposed but without Planning Application

Hall

53

61

Pa

to 303

3.13

Observatory

use

y Ho

genc

Re

Linley House

101 rk

Car

301

41

Fairfield House

(PH)

China House

Portland Buildings

Multistorey Car Park

1 to

70

Sub Sta

El

Stopford Building (The Medical School) 48

1:5000

Walk

11

Design

10 21

3.14

42

Construction

Commencement

Key

06

Completion

25 28

27 20

15

SITE PROJECTIONS

12 16 24

19 14 13 07

Construction Timetable of Building Site and Surrounding Context

Proposed MMU Science & Engineering Building

29 06

09

05

03 02

06

01

04

The highlighted projects on the construction timeline correlate to their respectiful

2014

2015

2016

2017

2018

2019

2020

2021

2022

2023

2024

images and information below. This shows an oveview of the projected development sites over the next 5 years, including projects specifically for the MMU campus.

09

Our focus here is to look at the proposals

Oxford Road Station Masterplan Transport & Offices

20

Science & Engineering building projected

21

Architect: NBBJ No. Storeys: 10 Research Space: 172,223 sqft

Architect: BDP No. of Apartments: 66 Office Space: 300,000sqft Public Realm Improvements

for the John Dalton West site and the new

Sir Henry Royce Institure

Manchester Museum Extension No. Storeys: 2 Two New Galleries New Entrance onto Bridgeford Street

Proposed MMU Science & Engineering Building

for 2023 completion that sits next to our given site.

24

The images to the right show an artists impression

of

the

new

Science

MMU Arts & Media Building Architect: Space: 96,000 sqft No. Storeys: 9 Other Uses: Lecture/ Offices

&

Engineering Building

01

First Street Plot 9A Hotel Architect: Jon Matthews Office Block with Hotel Above Office Space: 270,500 sqft No. Storeys: 11

https://www2.mmu.ac.uk/media/mmuacuk/content/documents/faculty-of-science-andengineering/MMU-Science-Engineering-public-consultation-banners.pdf Group Site Analysis Document

25

MMU Birley Fields Phase II

28

Architect: Hodder + Partners No. Storeys: 9 | 4 Ground Floor Communal Space 273 Apartments

Student Accomodation Architect: GWPA No. Storeys 11 | 16 No. Beds 520

02

River Street Tower Student Accomodation Architect: SimpsonHaugh No. Storeys: 32 | 15 | 10 Height: 92m No. Beds: 792

Burlington Square Private Residential

06

06

MMU Science & Engineering Building New campus resarch centre for MMU Education Space: 161,500 sqft Completion: 2023

Proposed MMU Science & Engineering Building

43

3.15

Proposed New Build

CURRENT SITE PROJECTION The New MMU Science & Engineering Building Proposal

Building RenovationInternal ‘strip Relocation of existing uses within the John Dalton West Building

The new building will provide improved

out’ and sewer diversion works

Demolition of the John Dalton West building

Construction of new Science & Engineering building

Refurbishment of John Dalton Tower

Winter 2020-2021

Spring 2021 Summer 2023

Sring 2022

teaching spaces, study areas and catering facilities for the Faculty of Science and Engineering.

Sring 2020 Proposed DemolitionSummer 2020

The proposals involve the demolition of the existing John Dalton West building and the construction of a new Science and Engineering building. The new seven storey building will be located adjacent to the Mancunian Way. Access to the site will continue to be from Chester Street, and the existing loading bay

Projected Construction Timeline Relocation of existing uses within the John Dalton West Building

Internal ‘strip out’ and sewer diversion works

Demolition of the John Dalton West building

To Include Construction of new Science & Engineering building

Refurbishment of John Dalton Tower

New teaching spaces:

Laboratories

200-student ‘super lab’

Computer suites

Sustainable travel will be encouraged by

Flexible seminar rooms

increasing cycle storage and reducing car

Research space

and service area for the John Dalton Tower will be reorganised to increase efficiency.

parking spaces.

Sring 2020

Summer 2020

Winter 2020-2021

Spring 2021 Summer 2023

Sring 2022

Offices

Staff Offices

Postgraduate research students

Study areas Social spaces Cafe Technical support areas https://www2.mmu.ac.uk/media/mmuacuk/content/documents/faculty-of-science-andengineering/MMU-Science-Engineering-public-consultation-banners.pdf

MMU Sustainable Approach Incorporating opportunities for biodiversity, including within the green room and ‘Living Labs’

New tree planting across the development site

The use of recycled materials, where possible, as well as sustainably sourced timber

Providing fast charging points for electric vehicles and secure cycle parking

Incoporating high efficiency heating and cooling as well as efficient LED lighting

Generating a proportion of the building’s energy demands using low and zero carbon technologies

A NOISY SITE IN MANCHESTER With the site sat adjacent to two major roads, and being amongst a large development area, it is one of the loudest regions in Central Manchester. Environmental analysis has revealed a need for an adaptable function.

1.0 2.0 3.0

APPROACH

PROBLEM IDENTIFICATION

CONTEXT

4.0 5.0 6.0

STRATEGY

DESIGN CONSIDERATIONS

In this chapter we explore the ways we can manipulate the large amounts of noise on site to provide a quiet building, through means of manipulating geometry, and materiality.

METHOD

HOW IS SOUND MANIPULATED? Through a combination of manipulating geometry and materiality, we can manage how sound energy travels or is eradicated throughout the building..

GRAND CENTRAL STATION

47

4.1

The structure of Grand Central Station creates a vaulted space which distributes sound in a ‘whimsical’ fashion. A person

SOUND MANIPULATION

who whispers toward one corner can be

Case Studies

space.

heard clearly from a person facing the opposite corner, due to the reverberation and acoustic pressure qualitites of the

WIND PAVILION The wind pavilion draws in sound from wind passing over a number of pipes, and intensifies the kinetic energy to a loud whistling.

CALGARY MUSIC CENTRE The Calgary School of Music contains a small theatre on the ground floor, which is sat adjacent to the ‘sound wall’. This wall is designed to selectively reverberate lower frequencies up and around the building as a low hum. The remaining high frequencies can be heard around the lower parts of the building to draw visitors to the hall.

1. https://www.google.com/imgres?imgurl=https%3A%2F%2Fephemeralnewyork.files.wordpress.com%2F2015%2F09%2Fwhisperinggallerytimes.jpg%3Fw%3D584&imgrefurl=https%3A%2F%2Fephemeralnewyork. wordpress.com%2F2015%2F09%2F07%2Fthe-whispering-gallery-in-grand-central-terminal%2F&docid=4a-bs1U8gwKtIM&tbnid=Vjc4kxq-HPJp6M%3A&vet=10ahUKEwikkszk79rnAhW9RhUIHTUyAwkQMwhvKBAwEA..i&w=584&h=354&bih=614&biw=1280&q=grand%20central%20sound%20trick&ved=0ahUKEwikkszk79rnAhW9RhUIHTUyAwkQMwhvKBAwEA&iact=mrc&uact=8 2. https://i.pinimg.com/originals/e8/28/6c/e8286c52a6f932e9f0e97f3370d52c98.jpg 3. https://i.pinimg.com/originals/e8/28/6c/e8286c52a6f932e9f0e97f3370d52c98.jpg

48

4.2

CASE STUDY The Acoustic Canyon The acoustic canyon effect is one seen typically on an urban scale where the design of facades and building geometry can have a big effect on the way in which environmental noise can be manipulated, or enhanced.

We are looking into this concept on a building scale to explore how acoustically designed void spaces within a building can manipulate external environmental noise and create pockets of silence on site.

Direct Environmental noise

Direct environmental noise Acoustic Canyon Areas of high acoustic absorption Reflected environmental noise

49

4.3

TYPOLOGIES The Results of Testing of Different Block Typologies Displayed in a Visual Format

As the distance doubles, the sound level drops 6dB(A) Typology A Linear

70 dB(A)

58 dB(A)

64 dB(A)

52 dB(A) Iterate Through Urban Block Type

Typology B Courtyard (Semi - Private)

Divide Elevation Into Panel System

Measure Distance From Sound Source To Elevation Panel

These are the results of the testing phase of Calculate Sound Level dB(A) At Elevation Panel

typical urban city blocks. We tested 4 types in order to achieve a greater understanding

Display In Visual Format

of which is the optimal solution for the site specifc noise levels. This information was mapped onto the facade and the decibel level (as an number set) was transferred

Typology C Perimeter

as a colour gradient for easy visual understanding. From this information we can gather which typology, position & location, height and density offers the best acoustic solutions to the changing sound levels around the site. This is information we can measure and test to find optimal solutions to carry forward in our design

Block Type

Typology D Atrium

process.

Measure Test

Sound Source

Typology E Tower

50

4.4

ADJACENCY MANIPULATION STRATEGY

Determine Best Appropriate Urban Block

Find Circulation Core To Arrange Adjacencies Around

Determine Which Rooms Require The Most Acoustic Dampening

Determine Spaces That Require Optimal Daylight Access

Research Labs Workshops W.Cs Kitchens Reception

How we Intend to Manipulate the Physcical Internal Spaces in Relation to Site Specific Information

Input Programmatic Requirements

Iterate Through Options To Determine Optimal Building Scenario

Compare Measureable Outputs Through A Testing Period

Innovation Hubs

Commercial

The room adjacencies outlined in our

Interact Programmatic Requirements With Measureable Input Data

programmed development is used in a computational manner to best organise each space on site to suit its individual requirements.

Focused

on

Services Single Use Space

Student Accommodation

optimal

acoustics, this process arranges spaces that need lower noise levels to funcion away from existing sound sources and also considers other environmental data that

Quiet Spaces

Mixed Use Space

Collaborative Workspaces

each space may need. Daylight access and privacy are considered in the process as each programatic space is arranged around

Transdiciplinary Workspaces

Adaptable Spaces

a circulation core taken from an optimal urban block.

Lectures Seminars Meeting Spaces Communal Spaces Food & Drink Co-Working

Arrange Adjacencies Within The Extended Design Space With Appropriate Areas

Pack Adjacencies Together, Respecting Primary Adjacencies, Acoustic Requirements and Daylight Access

51

4.5

Linear Geometry

GEOMETRY RATIONALISATION

Research Labs Workshops W.Cs Kitchens Reception

Categorisation of Linear and Flexible Geometry Innovation Hubs

Commercial

Using the Elbphilharmonie as a case study, we can define how our mix of flexible space and fixed space can be categorised into flexible and linear geometry.

Services Single Use Space

Student Accommodation

We can define the single use spaces as linear due to their basic requirements such as student residential apartments and commercial usage. Mixed use spaces

Quiet Spaces

Mixed Use Space

require more flexibility with their geometry

Collaborative Workspaces

- typically lecture theatres, group working spaces and adaptable spaces.

Transdiciplinary Workspaces

Adaptable Spaces

The Elbphilharmonie - Herzog & de Meuron The Elbphilharmonie can be seen to Lectures Seminars Meeting Spaces Communal Spaces Food & Drink Co-Working

be zoned in section by category: linear geometry and flexible geometry - this allows for the core theatre space to be designed specifically while the residential region can wrap around it.

Flexible Geometry

Flexible Geometry Linear Geometry

Studio INI - Kinetic Ceiling

52

4.6

Fixed Panelisation

kinetic

is raised in response to somebody stood underneath. In this example, the feature is used to create more space, but designed correctly, it can produce acoustic pockets to trap noise.

Innovation Hubs

Commercial

case study, we can define how our mix of Services Single Use Space

can be categorised into fixed and kinetic

Student Accommodation

(responsive) panelisation.

We can define the single use spaces as fixed Quiet Spaces

Mixed Use Space

- such as student accommodation and

Collaborative Workspaces

commercial usage. Mixed use spaces more acoustic insulation at specific times

their

the floor and dictate when the ceiling

Research Labs Workshops W.Cs Kitchens Reception

Using Studio INIâ&#x20AC;&#x2122;s kinetic ceiling as a

require more flexibility - sometimes needing

underneath

ceiling. The sensors are placed on

Categorisation of Flexible and Fixed Panelisation Systems

due to their one-dimensional requirements

and sensors to respond to people standing

INTERNAL PANELISATION

flexible space and non-flexible spaces

Studio INI utilise hinged panel systems

Transdiciplinary Workspaces

Adaptable Spaces

of day to suit the user. This function requires an aspect of adaptability which defines the need for a responsive ceiling.

Lectures Seminars Meeting Spaces Communal Spaces Food & Drink Co-Working

Kinetic Panelisation

53

Decibel reduction/ gain on different facade over different frequencies and different measurement points

4.7

MP2

CASE STUDY Facade Typology and their Effect on Environmental Noise

9.

Measure the Acoustic Effects on the Facade

80

Input Acoustic Engineering Standards

Re-iterate Facade Design

designs can effect the level of decibels recorded at different measurement points.

Measure the Acoustic Effects on the Facade

6.

engineering

noise

data,

acoustic

principles

and

different

5.

4.

geometries designs to produce a finished design that satisfies the goals of the

Define Facade Requirements

Model 2.2.3 On Site Acoustic Measurments

On Site Investigation

3.

Input Acoustic Engineering Standards

2.

1.

Model 2.2.3

Facade 2.2.1 on Axis

0.0

160

-1.1

0.3

-0.6

0.3

250

-0.2

0.1

315

0.2

0.3

400

0.2

-1.6

500

0.4

-0.4

630 Hz

0.4

-1.0

1.8

-0.9 Facade 2.2.2 on Axis

80

0.4

-1.4

100

-0.4

-0.6

125

-1.2

-0.2

160

-0.9

-1.1

200

-0.5

-0.6

250

-0.5

0.2

315

0.3

-1.8

400

0.8

0.1

500

0.2

-0.2

630 Hz

1.6

-0.8

80

Project Goals

MP1

-0.2

Facade 2.2.2 off Axis

Initial Facade Design

research.

Facade 2.2.1 off Axis

MP2

125

Input Acoustic Engineering Standards

This case study iterates through different facade designs through the input of

MP1

0.8

200

Model 2.2.3

On Axis

0.9

100

Final Facade Design

8.

7.

The case study explores how different facade

enviornmental

Off Axis

Facade 2.2.3 off Axis

Facade 2.2.3 on Axis

100

1.0

-0.5

125

0.3

0.0

160

-0.4

0.2

200

-0.4

0.3

250

0.2

0.2

315

0.2

0.2

400

0.0

-1.0

500

1.1

1.7

630 Hz

0.9

0.3

2.0

-0.7

What is the sound transmission Class at this point

FACADE

68dB What is the sound transmission Class at this point

Acoustic Protection Our site is not unique in the sense that like most urban sites there are buildings directly opposite creating an â&#x20AC;&#x153;urban

CURRENT DEVELOPMENT

4.8

Reference Facade

Bottom half needs To Deflect

74dB What is the sound transmission Class at this point

80dB

acoustic canyonâ&#x20AC;? where sound will reflect off both our building and opposing surfaces

2.5 1

creating a pocket of environmental noise

12

between the two. As we are looking at how we can influence this effect with out building proposal, we have researched into sound transmission through facade, sound manipulation by facade design and decibel reduction over distances.

Urban 68dB 74dB 80dB

Acous ti

c Cany on

1 2.5

CURRENT DEVELOPMENT

54

Top half needs to To be absorbent

Absorbed sound

55

4.9

Reflected sound Direct sound

FACADE External Acoustic Manipulation We have explored research into the effects that facade design can have on urban acoustics, through our research we are able to understand that the different densities of acoustic treatments can either diffuse noise or absorb noise better than the other.

The more density on the facade the more likely it is to absorb environmnetal noise

The more dense the panel, the more likely it is to absorb noise and visa versa. We can experiment with the location of these different types of panels where lower down on the building we would need to diffuse the sound and higher up where the decibel drop off has occurred we would absorb sound, which combined with sound transmission design of the facade can significantly reduce the environmental noise heard on the inside of the building.

The less density on the facade the more likely it is to diffuse environmnetal noise

56

4.10

KINETIC FACADE

Folding

Selection of position on the selected facade

g

in

id Sl

Ways in Which a Kinetic Facade can be Used to Achieve Required Acoustic Requirements, Both Internally and Externally

Selection elevation for treatment

Through the research into environmental trade-offs we have identified the need for an adaptive facade that can adapt

Selection of support structure (frame, cable etc)

at different times of the day. To achieve Expanding

this we have explored case studies for kinetic facades. Kinetic facades can be programmed to respond to differing levels

Kinetic Facade Types

of data, for instance a kinetic facade can be programmed to respond to environmental noise so if decibel levels exceed 55

Selection of the panel size, pattern, shape

Re tra ct in g

decibels, segments of the facade can close while other parts stay open to allow for daylight,views and ventilation.

Selection of grid size and spacing according to initial testing

Selection of granularity of control (single, cluster) due to further testing

Transforming

57

4.11

FACADE TESTING

2

1

Setting Measure and Gals Allows us to Test the Facade Design and Select an Optimised Option We are going to test our facade by firstly identifyng a set of points and generating

3

Measure the sound After Absorbed

Determine if the facade is Diffusing Sound

Establish Points of Contact

Determine distance from Noise Source

sound sources of different decibel values at each point dependant on what activities occur. We will then measure the distance from the noise source and point of contact on the facade. To measure the transfer of sound from the source to the inside we will first measure the distance the sound has

Measure the sound At the Points of contact

Measure Noise from Source

travelled, and the decibel loss over that distance along with the decibels absorbed by the facade.

This will then iterate through these designs and filter through the options by looking at the sound transmission class rating.

Measure Decibel lost Through Facade

Determine If the facade is Absorbing Sound

Select Evaluation Facade

Iterate through all possible Facade Options and re-test

Test Facade at different measuring points Building

Facade

Measuring point 1

Measuring point 2

Possible postions of measurment for environmentlnoise source

UNDERSTANDING THE BASICS Now we understand how sound can be manipulated in our design, we can attempt to implement this knowledge in a design space which is suited to our project ambitions.

1.0 2.0 3.0 4.0

APPROACH

PROBLEM IDENTIFICAITON

CONTEXT

STRATEGY

5.0 6.0

METHOD

DESIGN CONSIDERATIONS In this chapter we aim to understand the key ideas behind each aspect of our design: typology, adjacency, geometry, panelisation and facade. The input parameters and performance metrics can allow us to accurately model and measure how successful each design element can be.

WHAT ARE THE GOALS OF THE PROJECT? Other than manipulating sound to combat environmental noise in Central Manchester, we need aim to use the existing site use in a different way, in order to benefit the universityâ&#x20AC;&#x2122;s future.

61

5.1

SOUND BEHAVIOUR

SOUND MANIPULATION Emitter (Speaker)

Vibrating Medium Particles

Receiver (Ear)

Reflection

Absorption

Diffusion

How does Sound Behave?

Before we can start optimising spaces for sound, we need to understand the principles of sound.

Each space is required to react to the sound increasing frequencies.

Ultimately, sound transmission requires

Amplitude

Wavelength (Frequency)(Hz)

differently due to the varying properties of

Wavelength (Frequency)(Hz)

three stages: an emitter, a medium (the material which it travels through) and a receiver. In the scenario shown on the right

Wavelength (Frequency)(Hz)

,the emitter is the speaker, the medium is air and the receiver is the ear. Each element has itâ&#x20AC;&#x2122;s own set of parameters which must be organised correctly before we begin the

Time/Distance

optimisation process.

Echo/Reverberation

Route of Escape

Reflection

Extension

2m - 70dB 4m - 64dB 8m - 58dB 16m - 52dB 32m - 46dB

62

10.10 5.2

CLIENT PROFILE

Commercial

In Order to Provide and Deliver a Building for MMU an Analysis of Their Future Projections was Required.

Retail

MMU is currently under a large expansion plan in order to keep up with the ever expanding student numbers enrolling to the university. In order to future proof our proposal we have looked at the future projections of student numbers and in what areas these lie. From this we can determine a best fit programme for the John Dalton West site.

MMU Estates

Education

Residential

Research file:///D:/Users/benja/Downloads/16197-Estates_Strategy-Document-201718_V2.pdf

Building layers of change

63

User experience

5.3

Wayfinding

THE FUTURE CAMPUS

Serendipity

The Need for a Flexible and Adaptive University Campus

Digital concierge

Operation Experimentation Occupancy Optimisation

Based on an ARUP report on the future of the campus there is a clear demonstrated need for a campus that is both flexible

Lifecycle Management

and adaptable to future scenarios. Within the report there is a correlation between flexible spaces that allows occupants to chose there environment and job satisfaction, productivity and all round well

Site

Services

being. ARUP states that using Digital twins

Skin

Space plan

Structure

Stuff

Energy & Resource efficiency

of the campus is a way in which to monitor changes and flexibility within the campus.

71%

New products and services

Digital Twin

76% 60% 50%

32%

Industry Partnerships

52%

60%

40%

IoT Innovation

Job Preformance

Users without choice

Job Satisfaction

BIM

Workplace Satisfaction

Users with choice

Open Data

Social Media

The Traditional Campus

64

5.4

THE FUTURE CAMPUS Case Study for Collaborative Workspaces This scenario imagines a fictional 2037 campus as a sleek, intensive facility. It’s prime purpose is to encourage peer-to-

in a design that embodies student ‘crosspollination’.

Site barriers impose a prominent barrier to the desire for permeability.

The Future Campus

Library

Technology

Practical

Eating

Study

Social

emerge, the campus combines these ideas

Lecture

a series of unintended consequences

Office

from outside the university. However,

Teaching

student exposure to partners and audiences

Green space

peer interaction, multidisciplinary work and

Primary Secodary Tertiary

65

5.5

PROGRAMME

Size of circle determines size of programme

Residential

All To Have Different Acoustic Requirements

Potential adjacencies

Education

Macro Adjacencies

The Future Campus “Evaluate opportunities to embed flexibility

Commercial

Micro Adjacencies Services

to-ceiling space, and large floor slabs.

Services

Retail

Consider leaving services exposed and ensuring maintainability and acoustic

Innovation Hubs

Commercial

and adaptability that allow for high floor-

including moveable partitions, while also

Research Labs Workshops W.Cs Kitchens Reception

Single Use Space

Macro Adjacencies

Our Adaptation Inspired by The Future Campus

Student Accommodation

comfort” (ARUP, 2018).

Meeting Room

As suggested in the article by ARUP, the

Lecture Theatres

Teaching

conventional programme as shown in

Conference

Quiet Spaces

Office

the Macro and Micro Adjacency diagrams

Ground Floor Units

Retail

Seminar

is becoming outdated due to the large

En-Suite

Research

increase of digital leraning.

Food & Drink

Cafe/ Servery

Computer Suite

Small Business

Commercial

Bedroom

Kitchen

Transdiciplinary Workspaces

Workshop

In order to combat future scenarios we

Mixed Use Space

Toilets

Dining

Laboratory

Kitchen

Adaptable Spaces

Education

intend to provide an open plan, adaptive

Private

system that encourages collaborative, transdisciplinary

work

environments,

Communal

functional and adaptive space which will

Shared

Study

and intake numbers.

Group Study

Library

This however has it’s limits as we must acoustic seperation.

Residential

Co-Working

change due to the ever changing curriculum

consider spaces that require privacy and

Reception

Meeting Room

Quiet Study

Exhibition

Communal

Bicycle Storage

Parking Laundrette

Micro Adjacencies

Our Adaptation Inspired by The Future Campus

Lectures Seminars Meeting Spaces Communal Spaces Food & Drink Co-Working

Collaborative Workspaces

66

5.6

NOISE REQUIREMENTS

40

discussed previously the environmental noise causers are often much higher. Here

-4

5d

B(A

requirements of our outlined programme, they compare to external noise causers.

1

consideration when plannign the internal environment.

Sources of Environmental noise ranked from most to least harmful to well being

often come in below the WHO standards This is something we will have to take into

A)

dB(

)

75

Decibel A [dB(A)]: a filter that adjusts decibels for the frequency range that the human ear is capable of hearing which is 1kHz to 4kHz. Out side this we cannot hear

It can be seen that our proposed spaces but are highly contrasting to external noise.

100

45-55 dB(A) 45-55 dB(A)

we show an overlay of the internal acoustic Informed by building standards, and how

125

-80

the recommended noise level, yet, as

Living Rooms, Classrooms, Lecture Halls, Conference Rooms Bedrooms, Libraries, Prayer Rooms Theatres, Concert Halls, Recording Studios

70

The WHO outlines that 56 dB(A) is

Kitchens, Shopping, Common Spaces, Dining Halls, Computer Rooms, Workshops Corridors, Open Offices, Bathrooms, Toilet Rooms, Reception, Lobbies, Shopping Office, Courtrooms, Private Work Rooms

) B(A 25-30 d ) ) (A B(A 25-30 d 5 dB 3 0-3

Outlining the Internal Noise Requirements for Pre-determined Programme and its Relation to External Noise Pollution

150

External Traffic

Commercial Innovation hub Single use space Services Transdisplianry Space Mixed use Space

Exterior noise from nearby traffic

2

Interior Noise

3

Impact noise

4

Airborne noise

WHO recommended 50 noise level (56 dB) 25 Quiet Spaces

5

Background noise

10

100

Student Accomodation

Lecture Theaters

1k

Collaboratitve workspace

10k

100k

0

67

5.7

DESIGN OPPORTUNITIES Adaptive Aspects of the Building Weâ&#x20AC;&#x2122;ve identified 3 individual methods for

Entrance

responsiveness to environmental variability,

Office

which ultimately allows the building to react more effectively to external stimulus.

The geometry manipulation consists of either volumetric adpativity or internal adaptivity, the latter being a more achievable method of noise management.

Catering

Facade treatment allows for the effective deflection/absorption of noise before it

Teaching

reaches the internal environment, which we will be exploring as a responsive mechanism.

Programmatic arrangement allows for the flexibile adaptivity of the internal environment and is a viable solution to preventing noise. We aim to simulate how sound is distributed on site at specific times and find the optimal arrangement without the need for it to be adaptive.

Geometry Manipulation

Facade Treatment

Programmatic Arrangment

THE FUTURE CAMPUS We believe that the future campus will be contained within one building, where students live, work, and rest. This comes as a by-product of the emergence of digital learning, while also focussing on the importance of student contact with tutors.

69

5.8

0 1 2 3 4

Input Parameters We are using a variety of number sliders to allow for the manipulation of varying data inputs feeding into a parametric model, modelled in grasshopper to allow for complete design control based of a series of data inputs.

TYPOLOGIES

Generative Algorithm The genetic algorithm allows us to explore an exponential amount of design options in order to best satisfy our design goals based of measurable outputs.

Urban Block Type

Input variables and measureable output data sets that we will use to test the urban blockâ&#x20AC;&#x2122;s acoustic performance

A

B

C

D

Linear Semi Private Courtyard Perimeter Atrium Tower

E

Output Measures We measure the designs generated by the generative algorithm process by a set of predefined goals. To filter through the designs that satisfy the criteria set at the start of the process we can use the output measures to help filter the possible designs

5

6

7

Optimal Max

Total Floor Area 8

Urban Block typology Selection

Building Depth

Area Sq.

Min

9

Max

Max/Minimun Sound levels Min

Here shows a range of the input variable

55

65

75

85

Max

Environmental Data Input

Sound Level at Elevation Panel

that we will use to manipulate each of the urban block typologies that we intend to test

No. Of decibels

Building Height 4

Iterating to find

Decibel Drop off Over Distance Min

Density 0

Typologies Input

Min

0.5

15

25

35

45

Max

1

for acoustic performance. These include variables involved in its physical form and others are varying testing measures. From

Variance 0

0.5

1

Map Privacy

the input data set we will acheive a urban block typology that we can then test its

No. of Divisions

measureable outcomes. We do this so we 5

can search the design space for outcomes that suit our desired outputs. Here we can

6

7

8

9

Site Location (X,Y,Z)

also cross test different solutions that benefit the buildign design in different ways. An example of trade off would be the

Accesss Points

acoustic performance and how that affects the overall building footprint.

1

2

3

4

Input Noise Data

Input Daylight Data

Xm2 Xm2

Programme Spatial

70

5.9

Requirements Input

ADJACENCIES

Find Optimal Proximities Based 0 1 2 3 4

Input Parameters

These are the data sets that we intend to use to manipulate the room locations and the output measures we will be testing

We are using a variety of number sliders to allow for the manipulation of varying data inputs feeding into a parametric model, modelled in grasshopper to allow for complete design control based of a series of data inputs.

Generative Algorithm The genetic algorithm allows us to explore an exponential amount of design options in order to best satisfy our design goals based of measurable outputs.

Room Types A

B

C

D

Lecture Theatre Office Seminar room Breakout Residential

E

on Spatial Acoustic Propoperties Output Measures We measure the designs generated by the generative algorithm process by a set of predefined goals. To filter through the designs that satisfy the criteria set at the start of the process we can use the output measures to help filter the possible designs

Map Adjacencies by Combining

Here shows the input and output variables

5

6

7

8

Internal Adjacencies Arrangement

We are able to use these inputs to generate

45

35

55

65

Max

Core Generation Distances from noise Source

Daylight Requirements

suits the changing site specific data. From 0

Min

0.5

2

3

4

5

Max

6

Max

1

Internal Room Height

options and output the best solutions to Mixed vs Single Use

compare against each other. This also allows us to carry forward multiple options

45

55

a number of different scenarios that best this we can manage a wide rage of design

Max

Max/Minimum Sound levels Min

35

Meters

Min

9

Internal Acoustic Requirements 25

Max

Internal Acoustic Spread

that we are using to manipulate the spaces and their primary adjacencies on the site.

No. Of decibels

Min

Room sizes (m2) 4

External Data

Acoustic Transmission

0

0.5

Min

3

4

5

1

Adjacencies Fit Around Cores

Internal Floor area

into the next design phases.

Min

15

25

35

45

Max

Envelope Around Adjacencies

Xm2

Lecture Theatre

3

Seminar Rooms

5

Research Laboratory

2

Cafe

1

Offices

8

5.10 PLAN

GEOMETRY RATIONALISATION Varying Levels of Flexibility

Adjacency Input

SECTION

THE CORRIDOR PLAN

The Geometry of our design can be dictated by the levels of flexibility within it. A

SECTION

flexible building poses acoustic problems of decompartmentalisation which can be solved by reducing the amount of flexibility

INCREASING FLEXIBILITY

71

Iterating to find Optimal

THE OPEN PLAN

- a corridor plan building is a great acoustic Morphing Connecting

PLAN

solution.

Adjacencies However, the future campus requires

SECTION

an element of flexibility in order to allow for adaptable working spaces and collaboration spaces.

THE BUROLANDSCHAFT

Iterating to find Optimal

PLAN

The best solution for an all-in-one campus is to provide an extreme level of flexibility to

SECTION

the extent where floors are interconnected, and the ground floor of the building becomes part of the urban environment.

INTERCONNECTING FLOORS Merging with

PLAN

Floor Planes

SECTION

THE BUILDING AS PART OF THE CITY

72

FIXED

5.11

Xm2 Xm2

INTERNAL PANELISATION

Requirements Input

Flexible and Static Panelisation Methods In studio 1 we developed a panelised system for manipulating sound. we are looking to develop that system on a larger scale.

The difference is we are looking to manipulate real environmental noise from

Kinetic Panel Systems

differing sources to create optimised acoustic

environments

building programmes.

for

different

Xm2

Programme Spatial

FLEXIBLE

Iterating to find Optimal

Fixed Panel Optimisation

Lecture Theatre

3

Seminar Rooms

5

Research Laboratory

2

Cafe

1

Offices

8

5.12

PERMANENT PANELISATION Acoustic Simulation and Conditioning in Vaulted Structures - Adam Hannouch

0.7

F - Diagrid Angled Faces

0.4 Pattern F (0.35)

0.3

Pattern B (0.20)

0.0

Pattern A (0.19) Pattern D (0.14)

0

this research is to analyse various panel

5

10

15

20

25

Frequency (Hz)(10^3)

tessellations in order to diffuse and absorb or

E - Diagrid Pyramid

Pattern E (0.38)

spaces in this paper. The key objective in

noise

D - Parallel Faceted Corner Pyramid

Pattern C (0.62)

0.5

0.1

environmental

C - Staggered Inverted Pyramid

0.6

stereotomic strategies for multi-listener

explores

B - Staggered Pyramid

0.8

faceted

Hannouch

A - Parallel Pyramid

0.9

0.2

Adam

Scattering Performance (Medium Density)

1.0

Scattering Coefficient

73

reverberation

sound with maximum effectiveness.

The graphs compare the results of medium and low density patterns (how many

Scattering Performance (Low Density)

pertrusions per sq metre) which varies

Pattern E (1.00) Pattern C (0.99) Pattern F (0.98)

the results as well as the tessellation

1.0

iterations.

0.9

Pattern B (0.95)

0.8

Pattern D (0.85)

rises above 10kHz, Pattern C and E provide the greatest coefficient in the medium density and low density test respectively, while providing the second greatest coefficient in the other test.

This means for low density tessellations, pattern D is a superior acoustic absorber, and pattern C provides greater absorption for medium density tessellations.

Scattering Coefficient

The results show that when the frequency

Pattern A (0.77)

0.7 0.6 0.5 0.4 0.3 0.2 0.1 0.0 0

5

10

15

Frequency (Hz)(10^3)

20

25

74

5.13

Xm2 Xm2

PANELISATION

Requirements Input

Input Parameters We are using a variety of number sliders to allow for the manipulation of varying data inputs feeding into a parametric model, modelled in grasshopper to allow for complete design control based of a series of data inputs.

Input Parameters and Performance Metrics

Spatial Requirements (max dB value)

To optimally treat a space with the use

30

35

40

45

50

Generative Algorithm

Output Measures

The genetic algorithm allows us to explore an exponential amount of design options in order to best satisfy our design goals based of measurable outputs.

We measure the designs generated by the generative algorithm process by a set of predefined goals. To filter through the designs that satisfy the criteria set at the start of the process we can use the output measures to help filter the possible designs

55

of acoustic panels, we must first know what a successful design is and what an unsuccessful design is.

Absorb/Diffuse (Concave/Convex Geometry) Convex

Concave

Spread of Sound

We can create a number of solutions to the problem by varying the following input

External Facade Geometry Forming

Morph Room Shape 4

5

6

7

8

Min

Max

Kinetic Panel Systems

9

Absorption

parameters: spatial requirements (dB value), concave/convex geometry of panels and acoustic pressures, the morphing of

Min

Scale â&#x20AC;&#x2DC;Acoustic Pocketâ&#x20AC;&#x2122; 0

1

2

Max

3

the space, the scale of the space and the frequency cancellation.

Frequency Cancellation Min

By measuring the spread of sound and the

Iterating to find Max

Optimal

absorption of the sound using ray-based and gradient based performance metrics, we can understand what the best solution is.

Xm2

Programme Spatial

Fixed Panel Optimisation

Lecture Theatre

3

Seminar Rooms

5

Research Laboratory

2

Cafe

1

Offices

8

Privacy Privacy

75

5.14

Noise Data Input

FACADE FUNCTION TRADE OFF Analysis of the Typical Open/Close Adaptive Facade

Increased Daylight

Temperature Control

Input Noise Data

Increased Daylight

Temperature Control

x2 -6d

B

Find Decibel Distances

Noise Prevention

Noise Prevention

There are several other requirements that

Establish distance from noise Establish decibel reduction source over distance

Increased Ventilation

Increased Ventilation dB

48

need to be considered when designing for

Wall Build-Up From

View View Availability

acoustic comfort and overall well being.

Decibel Readings

Availability

Trade-offs between privacy, acoustics,

dB

102

views, ventilation, temperature and daylight

Privacy Privacy

all need to be considered within the design.

Input Sound Transmission

Facade Zoning Increased Daylight

Temperature Control

Determine Vertical Arrangement of Spaces Based on External Acoustic Qualities

Increased Daylight

Temperature Control

Establish Diffuser or Absorber Increased Ventilation

Noise Prevention

Noise Prevention

Geometry Formed From Zoning Requirements

Establish facade Geometry

Increased Ventilation

View View Availability Availability

Establish facade Geometry

Privacy

76

5.15

Temperature Control

Noise Data Input

Increased Daylight

9am

FACADE FUNCTION ADAPTABILITY

Noise Prevention

Increased Ventilation

Temperature Control

Analysis of Varying Metrics Tested Against Times of the Day

Input Noise Data

Privacy

Increased Daylight

B

Find Decibel Distances

Establish distance from noise Establish decibel reduction source over distance

12pm

Privacy View Availability

x2 -6d

These trade-offs are not fixed and have the ability to change in need over time.

For instance, views are not as important

Temperature Control

Increased Daylight

Noise Prevention

Increased Ventilation

dB

48

Wall Build-Up From Decibel Readings

as acoustics and temperature at 10pm, or

3pm

privacy is less important than views during the middle of the day. Comparing all of

dB

102

Privacy View Availability

these contrasting factors at varying times of the day demonstrates a need for an adaptable facade that can respond to the

Noise Prevention

Increased Ventilation

Temperature Control

hourly changes

Facade Zoning

Determine Vertical Arrangement of Spaces Based on External Acoustic Qualities

6pm

Privacy View Availability

Temperature Control

Increased Daylight

Increased Daylight

Input Sound Transmission

Noise Prevention

Increased Ventilation

Establish Diffuser or Absorber

9pm Noise Prevention

View Availability

Geometry Formed From Zoning Requirements

Establish facade Geometry

Increased Ventilation

Establish facade Geometry View Availability

77

5.16

Noise Data Input

Input Noise Data

FACADE

Input Parameters We are using a variety of number sliders to allow for the manipulation of varying data inputs feeding into a parametric model, modelled in grasshopper to allow for complete design control based of a series of data inputs.

Setting Out Clear Goals, Inputs of Data and Measures to Filter Through Potential Facade Design Options

Generative Algorithm The genetic algorithm allows us to explore an exponential amount of design options in order to best satisfy our design goals based of measurable outputs.

Sound Source Location X,Y,Z Axis

We measure the designs generated by the generative algorithm process by a set of predefined goals. To filter through the designs that satisfy the criteria set at the start of the process we can use the output measures to help filter the possible designs

55

65

75

No. Of decibels

Max

dB

48

Facade Sound Absorption 85

No. Of decibels

Min

95

Max

filter the different design options.

External Facade Geometry Forming

External Acoustic Panel Scale

Sound Transmission Class Min

4

5

6

7

8

Wall Build-Up From Decibel Readings

to acheive, a set of inputs that we can test against and a series of measures so as to

B

Find Decibel Distances

Facade Sound Diffusion

Decibel Volume 45

x2 -6d

Establish distance from noise Establish decibel reduction source over distance Min

To test the design of the facade we first must define a set of goals we are looking

Output Measures

55

65

75

85

dB

102 Max

9

Input Sound Transmission

Internal Audible Sound

For the facade design the inputs were developed for environmental noise data

Material Absorption Factor 0

0.5

Min 1

15

25

35

45

Max

Facade Zoning

collected from the site. The measures were sound transmission and decibel reduction

Distance from Sound Source

Determine Vertical Arrangement of Spaces Based on External Acoustic Qualities

and the goals were to meet the internal acoustic requirements of our programme.

Establish Diffuser or Absorber Geometry Formed From Zoning Requirements

Establish facade Geometry

Establish facade Geometry

THE TRADE OFF Each stage of our design process contains a trade off. Noise eradication priority would come at the expense of other environmental issues, such as daylight, temperature and ventilation. Now the design space has been set, we can begin to optimise how the spaces are arranged and sound internally manipulated.

1.0 2.0 3.0 4.0 5.0

APPROACH

PROBLEM IDENTIFICATION

CONTEXT

STRATEGY

DESIGN CONSIDERATIONS

6.0

METHOD In this capter we develop the system which will eventually design our building. These are initially tested in isolation.

DEVELOPING THE COMPONENTS Now we understand what the input parameters are and how we can measure the success of our design, we can start to implement these methods in parametric models.

81

6.1

DESIGN PROCESS A Step by Step Projection to Outline our Design Process.

Analyse Envrionmental Data That Interacts With The Chosen Urban Block

Determine The Internal & External Acoustic Qualities & Desired Internal Noise Levels

Internal Panelisation & Room Definition

Define The Building Envelope & Internal Arrangement Based On Adjacency Study

Responsive Ceiling

Identify Sound Source Locations/Types

Noise

Establish Facade Geometry Based on ST1 Study

Defined Adjacency Arrangement Around Circulation Cores

Fixed Ceiling

Map Urban Soundscape & Retrieve Acoustic Data

Establish Facade Absorb or Diffusion

Solar Facade Development & Treatment

This shows our vision for the design process from concept to building. This sequence

Road Traffic Pedestrian Traffic Construction Air Pollution Trams/trains Residential areas Commercial areas

Define Building Envelope

has been influenced by our research in the ST1, Serpentine Pavillion, methodology and

Project Acoustic Information Onto Proposed Massing Elevations

adapted and improved so it can be applied on a larger, building scale.

Facade Panelisation & Rationalisation

Input Noise Data

Divide facade into Equal Segments

Privacy x2 -6d

B

Arrange Adjacecnies Based On Predetermined Data Sets

Identify Appropriate Urban Block

Type A

Iterating Internal Geometry

Establish distance from noise source

Establish decibel reduction over distance

Type B Type C

Daylight dB

48

Determine The Internal Programme & Spatial Qualities Requried

Materiality Number of bounces Distance from noise Decibel rating

Type D

Define Goal for number of Panel types

dB

102

Determine Urban Block Circulation Core

Input Sound Transmission

Determine Vertical Arrangement of Spaces Based on External Acoustic Qualities

Xm2 Xm2

Connecting Internal Spaces

Xm2

Lecture Theatre

3

Seminar Rooms

5

Research Laboratory

2

Cafe

1

Offices

8

Sort Panels based on Different Panel Types

The Determined Adjacency Sizes Interact With Site Specific Data

Establish facade Geometry

Establish Diffuser or Absorber

An Adjacency Arrangement Is Defined

Generate Floor Plates

Distance from noise Programme requirements Materiality Street facing Distance from noise Decibel rating Height from the ground

Sort the Panels into groups by Panel type

82

6.2

TYPOLOGIES

Typology A Linear

The results of testing of different block typologies displayed in a visual format These are the results of the testing phase of

A1

A2

A3

A4

A5

A6

A7

A8

A9

A10

B2

B3

B4

B5

B6

B7

B8

B9

B10

C2

C3

C4

C5

C6

C7

C8

C9

C10

D2

D3

D4

D5

D6

D7

D8

D9

D10

Typology B Perimeter

typical urban city blocks. We tested 4 types in order to achieve a greater understanding of which is the optimal solution for the site specifc noise levels. This information was mapped onto the facade and the decibel level (as an number set) was transferred as a colour gradient for easy visual

B1 Typology C Atrium

understanding. From this information we can gather which typology, position & location, height and density offers the best acoustic solutions to the changing sound levels around the site. This is information we can measure and test to find optimal

C1 Typology D Tower

solutions to carry forward in our design process.

D1

dB(A) 40

45

50

55

60

65

70

75

80

83

6.3

ADJACENCIES TESTING

Initial Adjacency Arrangement In Design Space

Using the programme as input values for physical spaces that then interact with the site specific data These are the outputs of the room adjacency testing. This shows different arrangemetns of how spaces can be organised on the site dependant on their input parameters. We intend to update this process and refine the outputs so we are able to show a programmatic arrangment across varying urban block typologies. Please see below for a demonstation of how this happens.

Iteration 1

Iteration 2

Iteration 3

Iteration 4

Iteration 5

84

6.4

GEOMETRY RATIONALISATION Internal Space Development The diagrams to the right show the method of creating the internal geometry.

By taking the intitial adjacencies, we can select which require a physical connection - for instance lecture theatres and breakout spaces.

These are merged using metaballs and can vary in connectivity (left). The spaces cut a hole in the floor plates to create a mixture of flexible interior spaces and fixed, linear spaces.

6.5

85

PERMANENT PANELISATION Optimising the Internal Environment Using the same method as we used for ST1 panel optimisation, we can generatively optimise how a space diffuses and absoribs

Number of Attractorof Number Points Attractor 8 Points 8

6

Depth of Acoustic Depth of Panel Acoustic 6 Panel 6

7 7

6

sound.

Distribution of Attractor Distribution Points of Attractor 6 Points

Scaling of Acousticof Scaling Panels Acoustic 10 Panels 108 8 6

5 5

5 5

6 4

6

4 2

5

4

4

20

5

4

4

0

Sound Focus Direction Sound Focus Direction 70

70

70 60

70 60

60 50 50 40 40

60 50 50 40 40 30 30

Number of Attractorof Number Points Attractor 8 Points 8

Distribution of Attractor Distribution Points of Attractor 6 Points 6

Depth of Acoustic Depth of Panel Acoustic 6 Panel 6

108

7 7

6

8

5 5

5

5

6

5 4

6

5

Scaling of Acoustic Scaling of Panels Acoustic 10 Panels

4 4

4 4

6 4 2

20

Sound Focus Direction Sound Focus Direction 70

70

70 60

70 60

60 50 50 40 40

60 50 50 40 40 30 30

0

This method is ideal for our fixed internal spaces, as we can choose to disperse or concentrate sound in one place to suit each environment .

Distribution of Attractor Distribution Points of Attractor Points 6 6

Depth of Acoustic Depth of Panel Acoustic Panel 6 6

Scaling of Acoustic Scaling of Panels Acoustic Panels 10 10 8 8 6

5 5

5 5

6 4 4 2

4 4

4

2 0

4

0

Sound Focus Direction Sound Focus Direction 70

70

70

70 60

60 60

50 50

40 40

60 50 50 40 40 30 30

Number of Attractorof Number Points Attractor Points 8 8

Distribution of Attractor Distribution Points of Attractor Points 6 6

Depth of Acoustic Depth of Panel Acoustic Panel 6 6

7

Scaling of Acousticof Scaling Panels Acoustic Panels 10 10 8 8 6

7

5

5

6

5

5

6 4

6

4 2

5

4

4

2 0

5

4

4

0

Sound Focus Direction Sound Focus Direction 70

70

70

70 60

60 60

50 50

40 40

60 50 50 40 40 30 30

Number of Attractorof Number Points Attractor Points 8 8

Distribution of Attractor Distribution Points of Attractor Points 6 6

Depth of Acoustic Depth of Panel Acoustic Panel 6 6

10

7 7

6

8

5 5

5

5

6

5 4

6

5

Scaling of Acoustic Scaling of Panels Acoustic Panels 10

4 4

4 4

2 0

8 6 4 2 0

Sound Focus Direction Sound Focus Direction 70 70

60 60

50 50

40 40

70 70 60 60 50 50 40 40 30 30

86

6.6

ADAPTIVE PANELISATION Using Baffles to Absorb Noise in Acoustic Pockets we plan on having internal spaces not defined by walls but defined by function. To ensure our internal spaces have the best acoustic environment we are planning to utilise kinetic ceiling , this ceiling can alter form into to match the activity taking place. the ceiling will form a sphere creating an environment best designed for distributing sound and acoustic pressure.

9am

9am

87

6.7

Education (9am) - Needs to block out environmental noise but also stop glare on screens so top of the facade is open to allow for natural day light to enter.

FACADE FUNCTION

12am

12am

Controlling Environmental Trade-offs in Varying Typologies 3pm

3pm

to not only control the manipulation on

Residential (3pm) - needs to be conscious of higher levels of environmental noise from the end of the school day but still needs to allow in natural light

environmental noise but also multiple other environmental considerations. The design is there to absored any environemental

Residential (12am) - a time of day when there is less environmental noise and a good opportunity to increase natural daylight Education (12am) - Likely time for lectures to occur, as a result the facade needs to stop glare but not shut out natural daylight completely

By using an adaptive facade we are able

on the facade behind the adaptive elements

Residential (9am) - Needs to block out noise but also allow in some areas of morning light.

Education (3pm) - Likely time for lectures to occur, as a result the facade needs to stop glare but not shut out natural daylight completely, this time the opening is on the other side of the facade so to account for the movement of the sun.

Education

Residential

noise during times of the day when the adaptive elements are more open.

6pm

6pm

Residential (6pm) - The time when most environmental noise occurs,however most residents are not home but the facade still needs to respond to directional environmental noise.

Education (6pm) - Lectures are still in progress, offices and research labs are still in the building the facade needs to shut out large volumes of environmental noise

9pm

9pm Residential (9pm) - Needs to block out noise from the road, but also allow views from the building of the city at night.

Education (9pm) - Not occupied at this time, but it is a good opportunity to ventilate the building and cool the spaces.

88

6.8

POST PANEL RATIONALISATION Minimising Panel Tessellations for Efficient Material Usage Exploring a number of different option of panel division allows us to visualise the effect that different surface division have on panel rationalisation. this exercise allows us to group panel types by colour, this process is useful in terms of exploring the build-ability of the facade. as can be seen from the diagram the less uniform the panel divison is the more different types of panels will form, and visa versa.

WHAT NEXT? In ST3, the goal is to stitch each element of the process together in a cohesive building design.

We aim to continue developing the ideas weâ&#x20AC;&#x2122;ve worked on to understand their viability on a large scale project.

CONCLUSION We feel that our existing knowledge of generative design methods have aided us with the development of this project so far. We’ve aimed to develop our knowledge of computational theories further to enhance our ability to use specific tools.

The previous project has put us in good stead to develop our ideas further this semester.

However, with the building scale being larger, we have learned to acknowledge different limitations to our pavilion project. Again, we are not sound engineers nor do we have the correct tools to create optimal acoustic environments, but our knowledge of certain softwares has allowed us to develop acoustic manipulation methods more effectively than we were able to in our last project.

We were able to work well as a group and aimed to spread the workloads of computational use and presentation more effectively Again, we each feel as though we’ve gained a significant body of knowledge, working in a collaborative nature and with our software knowledge.

Our focus is now on how we can take the skills we’ve developed onto our final semester.