Studio 30: Resonate! Design Journal by Tan Bren-Da by Brenda Tan

SOFIA COLABELLA / MICHAEL MACK / GABRIELE MIRRA

STUDIO 30: RESONATE! REFLECTIVE/DESIGN JOURNAL

TAN BREN-DA

INTRODUCTION Studio 30 explores a wide range of design concepts from acoustic designs, open-air stage design, and to some degree small scale urban planning. This studio encourages a healthy balance between conceptual and pragmatic thinking where the process begins with ambitious ideas followed by transforming them into feasible designs. These design processes involve physical model making and testing, aural observations, digital design and acoustic optimization. To aid our designs we have weekly lectures on acoustic properties, optimization process and more. We have had lectures by Jason Sim from ARUP and Peter Fearnside from Marshall Day giving us an insight in acoustic design. As for stage design there is a list of readings that had been provided to us from the beginning of the studio to help us understand the design and planning involved in theatre designs. With all these resources and guidance from the tutors, guests lectures and readings there is a clear course to producing an abstract idea into a potential reality.

OH YOU BEAUTIFUL STAGE, VICTORIA ASSOCIATION OF PERFORMING ARTS CENTRES, 2012

CONCERT HALLS & OPERA HOUSE, LEO BERANEK, 2004

STAGED ARCHITECTURE, ERIC HOLDING, 2000

THEATRE BUILDINGS. A DESIGN GUIDE, JUDITH STRONG, 2010

The OUTCOME of Studio 30 is to design an open-air acoustic shell (main stage) for a music festival of our choice with 2 other programs in a quarry at Colac, Victoria. However, before jumping straight into the designing of the main stage and programs the brief begins with BRIEF 1: DEPENDENCIES, where we design an acoustic chamber to amplify our smart phones. The next design phase BRIEF 2_1: CONCEPT DESIGN, where we determine a design concept and arranging the main stage and the other 2 program within the site based on that. Finally, we have BRIEF 2_2: THE QUARRY, where the designs for all the programs and narrative have been finalized.

BRIEF 1: DEPENDENCIES In the first design brief we were given 4 different tasks (1) Observe 3 distinct music genres (2) Amplify smart phone with handmade acoustic chamber (3) Model testing with chosen music and water/light (4) Recreating model in digital model and carrying out sound pressure level analysis using Pachyderm.

TASK 1: OBSERVING MUSIC In this first task we were assigned to a group of 3 in which we pick 3 different music genre for observation. My group and I had picked the songs based on their performance venues. Upon selecting 1 song each, we analyze its musical composition such as tempo, melody patterns, texture and so on.

SONG #1: BACK IN BLACK by AC/DC

0:00 – 0:30 https://www.youtube.com/watch?v=pAgnJDJN4VA Style: Hard Rock (1980) Orchestration: Guitar, drums, bass, vocals Notes: • Tempo is slow • Length of guitar note is fast and articulate (muted with palm) • Punchy guitar riff (a) followed by lick (a) and repeat guitar riff (a) followed by lick (b) • Power chords (E/D/A power chords) • homophonic (melody + accompaniment) • Initially it sounds thick/dense then thin and high (guitar lick [a]) and back to dense/thick • High pitch (almost screaming like voice) • Guitar seem to be most significant part of the song • Begins soft with guitar muted and closed hi-hat followed by strong and heavy beat

SONG #2: HELLO DOLLY by Louis Armstrong

1:29 – 1:59 https://www.youtube.com/watch?v=l7N2wssse14 Style: Jazz (1963) Orchestration: Trumpet, clarinet, cello, piano, drums, trombone Notes: • Tempo is somewhat fast (heard in drums) • Polyphonic (multi-melody) significantly between trumpet and trombone • Counter-melody between trumpet and trombone • Possibly ornamentation in melody • At time sound sounds high (high pitch trumpet) yet dense (unity between other instruments)

THE PATH OF WIND by Joe Hisaishi

3:25 – 4:00 https://www.youtube.com/watch?v=l7N2wssse14 Style: Sonata Orchestration: Piano and cello Notes: • Tempo is fast and urgent and progressively slows down/transition with piano melody rising (higher keys) • Homophonic (melody: cello + accompaniment: piano) • Song sounds thick (piano) and thin (cello) at the same time • Rhythmic emphasis in piano keys at the beginning

One of the key challenges in this task was listening out for the different musical elements as I have little to no background in music. However, once I had familiarized myself with all 3 songs along with a sheet that explains the elements of music the task was no long difficult. One of the first few things I did in this observation was to list the music genre and instruments used that way it was easier to break down the composition of the song. The next step was to listen to how these sounds from different instruments work together or against each other, whether they are high or low frequency, the texture of each instrument and how it is played and so on.

TASK 2: AMPLIFY SMART PHONE In the next task we were to create geometrical forms made out of materials that we could find at home to create an amplifier for our phones. A phone is to be placed in the geometrical form, acting as an acoustic chamber/shell. The first thing I did was research on ways to amplify music/sound passively. I found that the horn or anything shaped as a cone was used in the past to ‘amplify’ sound naturally. The function behind it is that the sound wave enters into the narrow end known as the throat and radiates out to the wider end known as the mouth facing an audience. So what is occurring is that the sound waves are directed to a specific location which in turn the audience on the opposite direction to the mouth of the cone will experience a directional and concentrated sound. In the next task we were to create geometrical forms made out of materials that we could find at home to create an amplifier for our phones. A phone is to be placed in the geometrical form, acting as an acoustic chamber/shell. The first thing I did was research on ways to amplify music/sound passively. I found that the horn or anything shaped as a cone was used in the past to ‘amplify’ sound naturally. The function behind it is that the sound wave enters into the narrow end known as the throat and radiates out to the wider end known as the mouth facing an audience. So what is occurring is that the sound waves are directed to a specific location which in turn the audience on the opposite direction to the mouth of the cone will experience a directional and concentrated sound. The geometry that I had created starts out with a simple four sided bell shape similarly to a cow bell. The next step to change the opening of the geometry into a circular opening with vertical folds, followed by geometries with increase in vertical folds, the next iteration was to create an opening with sinusoidal wave followed by increasing the wave. Finally, in the last iteration I had experimented with the texture of the internal lining by increasing the folds as well as tilting the geometry upwards in attempt to create a different kind of opening.

TASK 2: AMPLIFY SMART PHONE GENERATING GEOMETRIES

ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 7

TASK 3: MODEL TESTING WITH CHOSEN SONG(S) SONG #1: BACK IN BLACK by AC/DC

GOAL: 1. Punchy/short/ articulate power chords 2. Clarity in guitar riffs and licks 3. Thick/heavy guitar riffs 4. High and thin (but controlled) guitar licks 5. Vocals that are not overpowered by the instruments

SONG #2: HELLO DOLLY by LOUIS ARMSTRONG

GOAL: 1. Balanced counter-melody between trumpet and trombone (not overpowered by trumpet) 2. Clarity in accompaniment instruments (drums, piano, clarinet, cello) 3. Controlling the high frequency- trumpet (less sharp on the ears) while bringing out low frequency accompaniment- trombone, drums, etc

AMPLIFICATION HIGH FREQUENCY PERFORMANCE LOW FREQUENCY PERFORMANCE CLARITY / ARTICULATION BALANCED MELODY + ACCOMPANIMENT

SONG #3: PATH OF WIND by JOE HISAISHI

GOAL: 1. Clarity/articulation in melody: cello + accompaniment: piano 2. Controlled balance between cello + piano (cello not overpowering piano)

Initially I had listed goals for each songs however, I found that this method of testing my acoustic shell is not feasible. Instead, I had listed common themes between the 3 songs and created a new performance criteria to determine the best performing acoustic shell. This list includes, (1) amplification, (2) high frequency performance, (3) low frequency performance, (4) clarity/articulation, and (5) balanced melody + accompaniment. These criteria would be put into a radar graph to visualize the performance of each acoustic shell.

TASK 3: MODEL TESTING

HIGH FREQUENCY PERFORMANCE

CHOSEN DESIGN BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

CLARITY / ARTICULATION

AMPLIFICATION

DESIGN 6

LISTEN TEST SONG #1

LISTEN TEST SONG #2

LISTEN TEST SONG #3

What is the texture of the song?

• Guitar licks and riffs performed the best in this design.

• Possibly sounded more balanced than design 5

• Overall similar to design 5, sharpness in cello is present, piano is thick and heavy (starts) and thin and bright (towards the end)

How does melody sound in comparison to the accompaniment?

• Power chords sounds significantly stronger (possible due to high amplification?) • Percussions (snare, hi hat sounds a lot more clearer)

• Similar to design 5

• Overall similar to design 5, good balance between melody + accompaniment (clarity and articulation in piano), not entirely overpowered by cello

Overall clarity / articulation

• Guitar lick A (high frequency) sounded clearer

• Similar to design 5, however, piano sounded a lot clearer and articulate than design 5

• Clarity and articulation in both cello and piano (can be better)

Vocals

• Vocal sounds powerful and sharp.

• NIL

High frequency vs. Low frequency

• High frequency performed well, however, low frequency sounded distorted or with reverberations (?)

• High frequency (trumpet) still remains dominant and sharp on the ears, whereas, trombone is clear but still overpowered by trumpet

• Performs better in high frequency (towards end of song) but lower frequency although is good but not as good compared to high frequency

Amplification

• 4/5

• 3.5/5

• 4/5

NOTES

• This iteration performed the best in terms of amplification and clarity. • High frequency performed the best in this iteration.

Based on the criteria I had set out from the beginning of the aural observation Design 6 scored the highest in almost all, therefore it will be taken to the next design phase. I was surprised with the result as I was expecting design 2 or 7 to perform the best but it turned out to have performed below average. My assumptions are that the large sinusoidal opening and curved back of the acoustic chamber has in someways directed the sound better resulting in the ‘amplification’ of the song which in turn made listening to the musical elements a lot clearer and easier.

TASK 3: MODEL TESTING WATER TESTING: COMPARISON

DESIGN 4 What is the texture of the song?

DESIGN 6 LISTEN TEST SONG #1

LISTEN TEST SONG #2

• Guitar riffs sounds slightly • Overall, sounded muffled thicker, guitar licks sounds and distorted sharp and thin (but slightly distorted) How does melody • Melody from guitar is dom• Counter-melody persound in compariinant, accompaniment formed poorly. son to the accomcan be heard however it paniment? sounds ‘jumbled’ Overall clarity / • Guitar lick A (high frequen- • Lack in clarity / articulaarticulation cy) sounded clearer tion Vocals • Vocal sounds similar to design 2 (good, but still slightly muffled/distorted) High frequency vs. • Low frequency performed • Similar to raw listening Low frequency better than in design 1 + 2 + 3, and high frequency although not as clear, still performed well. Amplification • 3/5 • 1/5 NOTES • Surprisingly when it comes to BACK IN BLACK this iteration performed quite well in amplifying with good results from high frequency instruments • This is however, the opposite for HELLO DOLLY. It is very similar to raw listening. • Might have to re-do sound testing for this iteration*

LISTEN TEST SONG #1

What is the texture of the song?

• Guitar licks and riffs performed the best in this design. • Power chords sounds significantly stronger (possible due to high amplification?) • Percussions (snare, hi hat sounds a lot more clearer)

• Possibly sounded more balanced than design 5

• Guitar lick A (high frequency) sounded clearer

• Similar to design 5, however, piano sounded a lot clearer and articulate than design 5 • NIL

How does melody sound in comparison to the accompaniment?

Overall clarity / articulation Vocals

• Similar to design 5

• Vocal sounds powerful and sharp. High frequency vs. • High frequency performed • High frequency (trumpet) Low frequency well, however, low frequenstill remains dominant cy sounded distorted or and sharp on the ears, with reverberations (?) whereas, trombone is clear but still overpowered by trumpet Amplification • 4/5 • 3.5/5 NOTES • This iteration performed the best in terms of amplification and clarity. • High frequency performed the best in this iteration.

At this stage, I had determined that design 6 had performed the best in all the criteria I had set out. However, for the water testing I had picked design 4 for comparison because it performed best in low frequency whereas design 6 performed better in high frequency. Design 4 & 6 were recreated using aluminium foil with a weighted anchor to keep it from floating.

LISTEN TEST SONG #2

TASK 2: AMPLIFY SMART PHONE WATER TESTING

OBSERVATION Water wavelength

DESIGN 4 Water wave dissipation

WATER TEST- DESIGN 4

• Water wavelength seems to be short • Water wavelength appear in high frequency after hitting surface • Wave propagation dissipates quickly after hitting surface

NOTES

Water wavelength

DESIGN 6

Water wave dissipation

NOTES

WATER TEST- DESIGN 6

• Water wavelength seems to be long • Water wavelength appear in moderate frequency after hitting surface • Wave propagation dissipates significantly slower than in design 4 • Wave propagation are a lot more visible

TASK 4: DIGITAL MODEL + ANALYSIS MICRO-ITERATION & PACHYDERM ANALYSIS

190mm

ELEVATION

155mm

SECTION

The next step is to translate the physical model into a digital model to carry out an acoustic analysis using Pachyderm. Although I was unable to exactly recreate the physical model due to the free form geometry I had roughly recreated it based on the core shape of the design (1) sinusoidal wave opening (2) curved back (3) narrow back of shell (4) slight concave at the highest point of opening.

ISOMETRIC VIEW

TASK 4: DIGITAL MODEL + ANALYSIS MICRO-ITERATION & PACHYDERM ANALYSIS

ITERATION 6 (B)

SD: 3.63

8.3m

3.8m

1.1m

ITERATION 6 (B4)

SD: 3.72 8.3m

ITERATION 6 (E2)3

4.5m

0.9m

SD: 3.83

9.6m

4.9m

2.4m

TASK 4: DIGITAL MODEL + ANALYSIS RECREATING DIGITAL MODEL TO PHYSICAL MODEL + AURAL OBSERVATION HIGH FREQUENCY PERFORMANCE

BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

ITERATION 6 (B) ITERATION 6 (B4) ITERATION 6 (E2)3 CLARITY / ARTICULATION

ITERATION 6 (B)

AMPLIFICATION

ITERATION 6 (B4)

Micro-iterations are made to design 6 from changing the width, height, depth, openings, and narrow throat and more. I then locate 4 sound sources at different positions within the shell, I then carry out the analysis of the sound pressure level without a shell to determine the ‘basis’ of comparisons of later micro-iterations. I then record these iterations and pick the top 3 iterations that has a histogram that closely represents a Gaussian curve as well as a low standing deviation number. The reason why a lower standard deviation number is better because the probabilities are higher that values do not fall far from the mean. I have found that there is a pattern that upon running the analysis on iterations with a curved back, the more curved the back is the higher the standard deviation number. I have determined that this is due to the back of shell being further away from the sound sources located at the centre of the shell. Overall, past a certain threshold the acoustic performance takes a turn and its about finding the right combination with the right dimensions. FInally I repeat the process where I recreate the digital model to a physical model to test their performances based on the 5 criterion that I had chosen at the start of the task in determining a successful acoustic shell. I compare these results using the same radar graph that I used in determining the chosen design for micro-iteration. This way I am able to pick the ‘best’ performing acoustic shell which in the case is ITERATION 6 (B4).

BRIEF 1: PERSONAL REFLECTION

Overall, I found the exercise quite hands on and challenging. Due to the limited material that I had at home I felt restricted in terms of designing the physical geometrical models. As I was designing I felt that my designs were simple and basic possibly due to the limited material or maybe because I was so focused in designing a shell that amplified my phone that I neglected other aspects to the design. However, with that said I was quite pleased with the results of my design. Despite struggling with grasshopper at the start of the semester, I found that the grasshopper lessons were very useful and informative. I felt like I had learned a lot in terms of analyzing acoustic performances. I was only able to do the water test which I had also found to be quite useful in visualizing the way sound waves propagates. Unfortunately I was not able to carry out the light test successfully. Even though this is only week 3 of studio, I have never created so many physical models in a studio before. This is obviously a good thing because it allows me to improve my model making skills and as well as break away from the conventional design process of jumping straight into rhino and creating digital models.

BRIEF 2_1: CONCEPT DESIGN REHABILITATION & RE-VEGETATION OF QUARRY

AERIEL VIEW OF COLAC QUARRY, HOLCIM COLAC QUARRY

AERIEL VIEW 2 OF COLAC QUARRY, HOLCIM COLAC QUARRY

FIGURE1: QUARRY LIFE-CYCLE

In the site analysis I was interested in looking at the process and methods of rehabilitating/re-vegetation the quarry after it has finished its economic life. Prior to excavating the site for raw materials the process involves completely removing any vegetation cover as well as extreme modification to the existing landform. After the economic life has ended the quarry is rehabilitated by introducing new and suitable vegetation to the site, ultimately stabilizing the natural habitat.

BRIEF 2: CONCEPT DESIGN NEW DESIGN BRIEF

PROGRAM 1

PROGRAM 2

PROGRAM 3

MUSIC SCHOOL

MAINSTAGE

REVITALIZED PARK

MUSIC MUSEUM

REHABILITATION CENTRE

For the 3rd program I decided to design a rehabilitation centre instead of a music school or museum because it was in the site analysis about rehabilitation/re-vegetation of the quarry where it essentially goes through the process of recovery and found that designing a rehabilitation centre where in-patients and visitors can actively watch the quarry recover as they themselves heal. The rehabilitation centre is aimed to improve the patients health, functioning and well-being. It helps people of all ages to manage their physical and mental health.

BRIEF 2: CONCEPT DESIGN BUBBLE DIAGRAM OF PROGRAM 1 + 2: MAIN STAGE + REVITALISED PARK (MUSIC FESTIVAL)

LOADING BAY / TEMP. PARKING

BACKSTAGE

MAIN-STAGE TOILET

CAFE/BAR/ RESTAURANT

POTABLE H20

CAMP GROUNDS

STAFF ONLY VEHICLE ENTRANCE

GREEN ROOM LOCKER

ART INSTALLATION / REVITALIZED AREA

HELPER HUT

CAFE/BAR/ RESTAURANT

TOILET

STAFF PARKING

CONTROL ROOM

STAGE WINGS MAIN STAGE

PUBLIC PARKING

FIRST AID

VEHICLE ENTRANCE

HELPER HUT

AUDIENCE TOILET

CAFE

SHUTTLE BUS DROP-OFF

SCENE DOCK

LOADING BAY

SECURITY

STAFF QUARTERS

SIGN-IN ENTRANCE

REHEARSAL ROOM

STAGE CORRIDOR

HELPER HUT

FESTIVAL SPACE

MERCHANDISE

TOILET

DRESSING ROOM

OFFICE

MERCHANDISE

POTABLE H20

TICKET BOOTH

TOILET

BRIEF 2: CONCEPT DESIGN PROGRAM 1 + 2: MAIN STAGE + REVITALISED PARK (MUSIC FESTIVAL)

FIGURE 2: FUNCTIONAL DIAGRAM OF PERFORMING ART CENTRE. VAPAV, 2012

FIGURE 3: TYPICAL ORGANIZATIONAL DIAGRAM OF A THEATRE. STRONG, 2010.

FIGURE 4: DIAGRAM SHOWING SPATIAL RELATIONSHIPS BETWEEN BACK AND FRONT OF HOUSE. STRONG, 2010.

The design brief for the music festival needs to accommodate 15,000 concert attendees with campgrounds available for both attendees and working staff. There needs to be a consideration of vehicle entries to the site in terms of car parking, shuttle bus drop-offs, tour bus, and loading trucks. To determine the program arrangements of the music festival and main stage I had mainly looked into typical theatre designs of front and back of house from VAPAVâ&#x20AC;&#x2122;s OH MY BEAUTIFUL STAGE and Theatre Buildings: A Design Guide by Judith Strong.

BRIEF 2: CONCEPT DESIGN BUBBLE DIAGRAM OF PROGRAM 3: REHABILITATION CENTRE

FAMILY MUSIC ROOM THERAPY ROOM QUIET ROOM

PATIENT ROOMS

MULTIPURPOSE ROOM

NURSE STATION

LIBRARY

REHABILITATION THERAPY GYM

TOILET

TOILET OFFICE DINING LOADING BAY

LOBBY/WAITING

STAFF ACCOMMODATION

KITCHEN ENTRANCE PARKING

BRIEF 2: CONCEPT DESIGN PROGRAM 3: REHABILITATION CENTRE

FIGURE 5: INPATIENT UNIT. U.S. DEPARTMENT OF VETERAN AFFAIRS (VA), 2014.

FIGURE 6: POLYTRAUMA TRANSITIONAL REHABILATION PROGRAM. VA, 2014.

For the design of the rehabilitation centre that I looked into the design guide of rehabilitation centre for veterans by the U.S. Department of Veteran and Facilities for rehabilitation services by NHS Estates. Rehab. Centre for veterans may be an extreme case study however I found that the arrangement of the different programs to be relevant with the option to arrange the space with leniency.

BRIEF 2: CONCEPT DESIGN PROGRAM(S) SCHEDULE

REHABILIATION CENTRE ART INSTALLATION PARK

MAIN STAGE MUSIC FESTIVAL DAY: YOGA NIGHT: OUTDOOR CINEMA

FIGURE 7: PROGRAM(S) SCHEDULE

Determining the schedule of each programs can help with planning of the positions of each program relative to one another. I have decided to have the rehabilitation centre open all year round along with the revitalized park where rehab. centre patients, visitors and Colac residents can visit any time of the year. The music festival would only be opened during summer due other months being too cold or wet for attendees to enjoy the outdoor music festival. Besides winter, the main stage can be utilized for other purposes such as Yoga and Tai Chi classes during the day and outdoor cinema during the night. That way the main stage does not remain vacant on long periods.

BRIEF 2: CONCEPT DESIGN POTENTIAL PROGRAM(S) ARRANGEMENT

REHAB. CENTER PARKING

CARPARK 13000m2

REHAB. CENTER 4500m2

TOILET

PUBLIC VEHICLE ENTRY

MERCH.

SHUTTLE BUS DROP-OFF

TICKET

TOILET CAFE/ BAR

H20

MERCH.

MAINSTAGE 13000m2

CAMPGROUNDS 74000m2 H20

H20 HELPER HUT H20

CAFE/ BAR ART

CAMPGROUNDS 33000m2

ART

STAFF CARPARK 6600m2

HELPER HUT H20

CAFE/ BAR

MAINSTAGE 11000m2

ART

MERCH.

Option C and D were chosen similarly to B where the audience are wedged between the rocky landscape. However, circulation may be an issue where the area must be able to accommodate 15,000 people walking in and out of the main stage.

H20

STAFF QUARTERS

MAINSTAGE 10000m2

ART

MAINSTAGE 10000m2

CAFE/ BAR

CAFE

ART

0 PEDESTRIAN PATH

Toward the south end of the site I had picked 3 potential spots for the main stage and another one near the largest lake. Option A was picked because the water surrounding the stage and audience can potentially create a unique music festival experience. However there are several issues such as disturbance to the birds residing on the main lake as well as patients are the centre. Option B was chosen to take advantage of the landscape where the audience are surrounding by the rocks which acts as a good acoustic reflector.

H20

HELPER HUT

H20

ART TOILET

The revitalized park consist of reintroduction of vegetation and species that have had their habitat destroyed during the clearing and soil stripping phase. Art installations will also be carefully positioned across the park to act as some form of wayfinding/guidence for visitors of the site.

MERCH.

TOILET

STAFF VEHICLE ENTRY

ART

MERCH.

I have decided to arrange the program in such a way that the main stage and rehabilitation centre are separated by the revitalized park. This is to ensure that during periods where the music festival is on going there would be little to no disruptions to the in-patients at the centre. Since the views of the landscape is an important aspect to the centre I have positioned it at the north section of the site overlooking the waters and vegetations surrounding it.

100

200m

BRIEF 2: CONCEPT DESIGN FINAL PROGRAM(S) ARRANGMENT EXIT FESTIVAL PARKING x630 / 20 BUS PARKING

REHAB. CENTRE

The final position of the rehabilitation centre has remained from the initial planning. My decision has remained because it was crucial that the patients in the centre would not be interrupted by the music and traffic of crowd and cars during festival season. However, still maintaining a visual connection with the park and possibly the main stage. ENTRY

The public parking is located on the north east of the site mainly because it is closest to the main street as well as having a relatively flat ground. The parking are also includes a shuttle bus drop-off area. FESTIVAL ENTRY

The revitalized park is essentially the whole area between the mainstage and the centre. The campgrounds is located within the revitalized park surrounded by a mix of vegetation and rocky landscape. I have done this to ensure that the campers are relatively close to the entrance (parking area) and somewhat separated from the main stage and rehab. centre. As I have mentioned earlier, the revitalized park will include art installations which also acts as a way finder/guidance for visitors. It can also be used to encourage peopleâ&#x20AC;&#x2122;s movement across the excavated site.

CAMPGROUNDS

I have chosen option B as the position of the main stage because it not only takes advantage of the landscape where it acts as an acoustic reflector but also allows for 15,000 people to move in and out of the area with ease.

MAIN STAGE PERFORMERS GREENROOM BAND ROOM/X2 PRACTICE ROOM

*STAFF ONLY AREA

MANAGEMENT OFFICE

LOADING BAY

SCENE DOCK

FESTIVAL PROGRAMS

On the south west, I have the staff campgrounds and separate entry for visitors during off-season programs and loading trucks.

ART INSTALLATIONS

STAFF CAMPGROUNDS

100

200m

BRIEF 2: CONCEPT DESIGN MAIN STAGE PLANNING

9 8 8 7

12 12

6 6 1

5 3

14 13 15

14 13

1. STAGE 2. CORRIDOR 3. LOADING BAY 4. SCENCE DOCK 5. MANAGEMENT OFFICE 6. STORAGE/LOCKER 7. CONDUCTOR/CONCERTMASTER OFFICE 8. BAND ROOM / x2 PRACTICE ROOM 9. DRESSING ROOM 10. TOILET 11. GREEN ROOM 12. CONTROL ROOM ? 13. STALLS 14. LAWN SEATING 15. TOILET ? 16. BAR ?

STAFF ONLY AREA 0

25M

In the planning of the main stage I had positioned the audience area between the rocky landscape as intended, however, upon drawing it up on plan I realised that the audience is not exactly enclosed between the rocks instead only the west side of the audience is enclosed whereas the east side is opened up. As for the circulation of the people arriving to the mainstage, at this current stage of design I had only planned one entrance which is located on the north east of the sitting area which to think of it is not practical as all due to the fact that the audience has a capacity of 15,000 people walking in and out. There is another issue regarding the absence of an emergency exit for people seated on the left side of the audience. The design of the backstage was inspired by readings from OH YOU BEAUTIFUL STAGE and THEATRE DESIGN: A DESIGN GUIDE. One of the key importance of designing an efficient backstage is accessibility. I have designed the rooms of the backstage in a way that has direct access to the main stage, separated by a corridor. I have also positioned the loading bay area on the west side of the stage closest to the main road.

BRIEF 2: CONCEPT DESIGN FINALIZED MAIN STAGE: MID-TERMS

A 8 8 8 7

15 17

5 3

1 13

13 13 13

16 13

18 16 15

25M

1. STAGE 2. CORRIDOR 3. LOADING BAY 4. SCENCE DOCK 5. MANAGEMENT OFFICE 6. STORAGE/LOCKER 7. SECURITY ROOM 8. BAND ROOM / x2 PRACTICE ROOM 9. DRESSING ROOM 10. TOILET 11. GREEN ROOM 12. CONTROL ROOM ? 13. STALLS 14. LAWN SEATING 15. TOILET 16. BAR

To address the issues raised in the initial design phase of the main stage I had made changes to the plan. I have refined the seating area into 2 sections: stall seating at the front and lawn seating at the back. The idea was that people seated at the front will experience the best acoustic performances whereas people seated at the back may not prioritize the acoustic performances instead are there to enjoy the festival atmosphere and natural surrounding. There is now 3 separate entries to the main stage one located on the back of the audience and the other 2 at the front sides. I have also included a quasi foyer at the north east of the audience with ticket, food/beverages and toilet huts situated nearby. The design of the stage and backstage have remained the same as in the initial design phase.

BRIEF 2_1: CONCEPT DESIGN REHABILITATION CENTRE PLANNING

10 6 6 18

14 17 15

17 16 20

1 10 1

4 4

5 7

4 4 6

7 7

4 6

19 6

1. ENTRANCE 2. WAITING AREA 3. RECEPTION 4. OFFICE 5. CONFERENCE ROOM 6. TOILET 7. THERAPY ROOM 8. REHAB. THERAPY GYM 9. NURSE STATION 10. STAFF LOUNGE/STORAGE 11. PATIENT ROOM 12. PATIENT LOUNGE 13. MULTIPURPOSE ROOM 14. CAFETERIA 15. KITCHEN 16. STORAGE 17. STAFF ACCOMODATION 18. LAUNDRY 19. ACCESSIBLE OUTDOOR AREA 20. PARKING 21. DROP-OFF/PICKUP

11 10

6 6

11 9

11 11

12 11 11 19

25M

In the planning of the rehabilitation centre I have designed the key programs at the centre to have optimal view of the landscape. This was an important aspect to the design because the design concept surrounded the idea that the patients are connected with the landscape through sharing a similar process of recovery. The arrangement of the programs within the centre was inspired by ‘REHABILITATION CENTRE FOR VETERANS’ by V.A and FACILITIES FOR REHABILITATION SERVICES by NHS Estates both of which I had mentioned in the program bubble diagram. I have located the rehabilitation gym at the center of the plan with large uninterrupted view of the site overlooking the water because patients and staff would be spending most of their day in this space. The in-patient units also have an optimal view of the site from their beds that way no matter at what time of the day the patients are reminded that there is hope to recovery. The staff accommodation is separated from the main building, giving a sense of ‘traveling’ to and from work.

BRIEF 2_1: CONCEPT DESIGN FINALISED REHAB. CENTRE: MID-TERMS

14 15

17 20 10

4 4 4

6 7

11 11 11

6 6

11 11 11

1. ENTRANCE 2. WAITING AREA 3. RECEPTION 4. OFFICE 5. CONFERENCE ROOM 6. TOILET 7. THERAPY ROOM

12. PATIENT LOUNGE 13. MULTIPURPOSE ROOM 14. CAFETERIA 15. KITCHEN 16. STORAGE 17. STAFF ACCOMMODATION

In terms of the program arrangement, there is no drastic changes. The changes worth mentioning is that there is now and accessible outdoor area connected to the rehabilitation therapy gym and in-patient lounge area. Instead of just being visually connected to the site, patients, staff and visitors can also be physically connected with the outdoors. The decking area also allows for certain therapy sessions to be carried out outdoors. The car parking is exclusively for patients, visitors and staff of the centre. Therefore the concert attendees crowd do not interrupt the centre during peak season.

I have chosen a section of the revitalized park area that shows the campgrounds and the art installation trail. As I have mentioned earlier, the art installation also acts as a way-finder for visitors. I have strategically positioned each installation in close proximity to the other so that the people are able to recognize and follow the path either to the main stage or further into the art trail. The campgrounds have food/beverages, toilet, and helper huts scattered across the area to ensure that the campers are in close proximity to an amenity.

BRIEF 2_1: CONCEPT DESIGN FINALISED REVITALISED PARK: MID-TERM 2 2

3 3

4 1

1 1

3 3 2 4

1. CAMPGROUNDS 2. BAR/CAFE 3. TOILET/SHOWER 4.HELPER HUT 5. ART INSTALLATION

0 5

15 5

BRIEF 2: PERSONAL REFLECTION At this design stage we took a break from the acoustic analysis/optimization and focused on developing on our design concepts and program arrangement in both small and large scale. I found that the most difficult task in this design phase is determining the design concept that will dictate the overall design intent of the brief. With careful consideration I have decided on developing the concept of the â&#x20AC;&#x2DC;healing/recovery of the quarryâ&#x20AC;&#x2122;. I was immediately drawn to this idea possibly due to the symbolism between the recovery in human and nature. Without determining the concept at an early stage of the design it can potentially become difficult in the later stages of the design. I find that when I was designing for the programs within the rehab. centre I was constantly tying it back to my chosen concept. Another challenge that I had come across is the interrelationship between the 3 programs. Ways in which I had justified the position and relationship between the rehab. centre and the main stage is that they are separated by the revitalized park, and only connected visually.

BRIEF 2_2: THE QUARRY ACOUSTIC OPTIMIZATION PROCESS

BACK PROFILE SIZE

MAIN PROFILE SIZE

FIXED: 0.25

FIXED: 2.30

RANGE: 0.20 - 0.45

MAIN PROFILE KINK RANGE: 0.30 - 0.50

RANGE: 0.70 - 2.50

MIDDLE CURVE POSITION RANGE: 11.00 - 15.00

SHELL DEPTH

RANGE: 3.00 - 25.00

FIXED: 18.00

BACK OF SHELL CURVATURE RANGE: 0.50 - 0.70

FIGURE 8: DESIGN VARIABLES

OCTOPUS OPTIMISATION: VARIABLES

30m

SOUND SOURCE 0: FRONT OFF-CENTRE SOUND SOURCE 1: SIDE OF SHELL SOUND SOURCE 2: BACK OF SHELL

BRIEF 2_2: THE QUARRY ACOUSTIC OPTIMIZATION PROCESS

In this final design phase we revisit geometry design from the first assignment and running an in depth acoustic optimization and analysis process. Instead of roughly recreating the physical model into a digital model we break down the chosen design into design variables. The variables that make the Iteration 6 (B4) are shown in figure 8. The variables include a minimum and maximum value. Random models are then generated based on the parameters, however, there is no acoustic simulation or optimization process carried out yet. The next step is to run the optimization process to determine the best performing shell. The first step I added 3 sound sources at different positions and running the optimisation process with octopus, it becomes apparent that thereâ&#x20AC;&#x2122;s a tendency for the hsell to be as close as possible to the sound sources. That is why I have included FIXED variables, that way the shell retains the general form that reflects the design intentions. That means I have (1) main profile kink (2) Middle curve position and (3) back of shell curvature moving forward. FIGURE 9: RANDOM MODEL GENERATED BY DESIGN VARIABLES DESIGN SPACE CONSTRUCTION WITHOUT OPTIMISATION PROCESS

BRIEF 2_2: THE QUARRY ACOUSTIC OPTIMIZATION PROCESS SOUND SOURCE 0 FRONT OFF-CENTRE

SOUND SOURCE 1 SIDE

SOUND SOURCE 2 BACK

SOUND PRESSURE LEVEL DISTRIBUTION

OCTOPUS OPTIMISATION (3 SOUND SOURCES)

WITHOUT SHELL

STANDARD DEVIATION (SD)

SD0: 4.01 / SD1: 4.02 / SD2: 3.72

GENERATION 16: 50 POPULATION MAIN PROFILE KINK: 0.45 MIDDLE CURVE POSITION: 11.16 BACK OF SHELL CURVATURE: 0.54

SD0: 4.40 / SD1: 3.92 / SD2: 3.67

GENERATION 24: 50 POPULATION MAIN PROFILE KINK: 0.36 MIDDLE CURVE POSITION: 11.34 BACK OF SHELL CURVATURE: 0.51

SD0: 4.26 / SD1: 3.54 / SD2: 3.39

OCTOPUS OPTIMISATION: COMPARISONS

SPL (dB) 73 SPL (dB) 73

90 90

BRIEF 2_2: THE QUARRY ACOUSTIC OPTIMIZATION PROCESS

I begin the process without a shell which acts as a base for comparison. I then let the optimization process run its course for a long as I want and have managed to run up to 24 generation with 50 population. Once that is done, I then choose the point closest to the origin point in the octopus optimization graph. Similarly to the first assignment, what I am looking out for is a histogram that closely represents a gaussian curve. I then compare all 3 results and it is evident that the longer the optimization process runs the better the outcome/solution. In this case the octopus process has provided me an shell that has been acoustically optimized based on the design variables that I had chosen. I will be using the newly improved shell geometry in the design of the main stage.

BRIEF 2_2: THE QUARRY CONSTRUCTION METHOD

Initially I was looking at gridshells but realised that the construction is not suitable for the form that I have. Instead, I have chosen a segmented timber panels due to its feasibility and ease of construction on site. In this case, I have looked into BUGA WOOD PAVILION by Archimmenges. The main difference however between the design of my timber panels and BUGAâ&#x20AC;&#x2122;s is that mine is curved whereas BUGAâ&#x20AC;&#x2122;s panels are straight. Without running a geometrical optimisation process, I have found a feasible solution and that is to requires the timber panels to be the same shape but different sizes. Essentially if I were to analyse the smallest panel (back of stage) and largest panel (front of stage) they should be the exact shape but at different scales. Unfortunately not all the panels are the same specifically the panels that meets the ground since their panel shape is slightly different from the rest.

BRIEF 2_2: THE QUARRY CONSTRUCTION METHOD: PREFABRICATED TIMBER PANELS

BRIEF 2_2: THE QUARRY CONSTRUCTION METHOD: MAIN STAGE DETAIL

Magney House, Cisse Vercauteran, 2020.

BRIEF 2_2: THE QUARRY CONSTRUCTION METHOD

The timber roof panels of both the main stage and back stage are made of plywood and glulam beams to accommodate the curvature of the panels. The timber panel is approximately 200mm thick, half the size of the initial design. The panel includes finger joints and a compartment to house lighting wires and other services. The material that I have chosen for the exterior and interior of the panel to be spotted gum plywood. The hardwood interior timber panel also acts as a good acoustic reflector. One of the main challenges I encountered in the construction phase was connecting the main stage and back stage roof. Mainly due to the curvature of the roof and how the curvature of the backstage roof and main stage do not match. One solution I had looked into was the roof construction of Magney House. The idea behind the roofing system is that the 2 slopping roofs are separated yet connected internally by a valley gutter. I then take the idea of separating my 2 roofs with a bespoke valley gutter which slopes towards the front of the stage and into several downpipes for drainage.

BRIEF 2_2: THE QUARRY STAGE LIGHTING

There are 2 methods of lighting up the stage- the first being fixed LED strip installed within the timber panels and the other move flexible method is suspending lighting trusses onto the glulam beams. The flexible LED strip follows the form of the shell to accentuate the curvature of the form, enhancing the experiences of concert-goers especially during the night. Metal eye pad plates are attached to the glulam beams to allow for flexibility in the light planning of a certain performances.

BRIEF 2_2: THE QUARRY EVOLUTION OF MASTER PLANNING

PHASE 1

FINAL

PHASE 2 EXIT FESTIVAL PARKING x630 / 20 BUS PARKING

REHAB. CENTRE REHAB. CENTER PARKING

CARPARK 13000m2

REHAB. CENTER 4500m2

TOILET

PUBLIC VEHICLE ENTRY

MERCH.

SHUTTLE BUS DROP-OFF

TICKET

ENTRY

TOILET CAFE/ BAR

FESTIVAL ENTRY

H20

MERCH.

MAINSTAGE 13000m2

CAMPGROUNDS 74000m2

CAMPGROUNDS H20

H20 HELPER HUT H20

CAFE/ BAR ART

CAMPGROUNDS 33000m2

ART

MERCH. ART

MERCH.

TOILET

STAFF VEHICLE ENTRY

STAFF CARPARK 6600m2

HELPER HUT H20

MAINSTAGE 11000m2

CAFE/ BAR

H20

MAIN STAGE PERFORMERS GREENROOM BAND ROOM/X2 PRACTICE ROOM

ART

MERCH.

H20

*STAFF ONLY AREA

STAFF QUARTERS

MAINSTAGE 10000m2

ART

MAINSTAGE 10000m2

SCENE DOCK

FESTIVAL PROGRAMS ART INSTALLATIONS

CAFE/ BAR

STAFF CAMPGROUNDS

ART

CAFE

MANAGEMENT OFFICE

LOADING BAY

H20 ART

TOILET

HELPER HUT

100

200m

100

200m

PEDESTRIAN PATH

There had been drastic changes in the arrangement of the programs from design phase 1 and 2, where exploration of potential positions were important in determining the best site for each programs, as well as how they are interrelate with each other. In the final iteration of the masterplanning, the overall arrangement of the programs have remained the same from design phase 2. The 3 programs were positioned in a way that revolved around the ideas of (1) connecting with nature (2) exploration of the site and (3) self-reflection. The type of users that visit the site may be contrasting but overall, the reason behind their visit is more of less the same where they have come to heal either their mind, body or soul.

BRIEF 2_2: THE QUARRY EVOLUTION OF REHABILITATION PLANNING

PHASE 1

FINAL

PHASE 2

10 6 6 18

14 17 15

17 16 20

1 10 1

4 4

5 7

4 4 6

7 7

4 6

19 6

11 10

6 6

11 9

11 11

12 11 11 19

40m

The rehabiltiation centre had continued to evolved even until the final design phase. Changes worth mentioning is the slight change in position of the centre where the outdoor decking area connected to the therapy gym is suspended above the water. That way when the patients and visitors have sessions at the gym or lounge area they are presented with a view as if they were floating above the landscape. The design of the parking has evolved slightly where the previous parking design was a bit too sterile for the landscape. Overall, the main focus for the planning of the programs at the centre was to connect the users either visually or physically to the landscape.

BRIEF 2_2: THE QUARRY EVOLUTION OF MAIN STAGE

PHASE 1 9 8 8 7

FINAL

PHASE 2

12 12

6 6 1

5 3

14 13 15

14 13

STAFF ONLY AREA

40m

Similarly to the rehab. centre, the planning of the mainstage had continued to evolved until the last design phase. Since the design of the mainstage was dependant on the optimization process it was bound to have drastic changes in the planning. In phase 1 + 2, the acoustic shell that I had used had not yet been optimized and as you can see at the final stage, the designing and planning of the backstage had changed slightly to accommodate the new shell. At the final stage, I had also refined the design and position of amenities surrounding the main stage. I had design it in a way that anticipates people arriving to the stage from 3 directions (back and 2 front) in which amenities would be located.

BRIEF 2_2: THE QUARRY EVOLUTION OF REVITALIZED PARK

FINAL

PHASE 1+2

40m

The revitalized park area had been refined drastically. At the early stages of the design, I had planned to have art installation scattered across the site strategically to encourage the movement of visitors but did not specify the kind of installations. In the final design, I have chosen to have ephemeral art installtions across the site, which ties back to the idea of the fleeting nature of life. What I mean by this is that the natural environment is cleared and stripped for excavation of materials and yet has the potential to recover from the intervention, however, just like any living thing it will one day diminish but while it still exists it can be appreciated in the present.

BRIEF 2_2: PERSONAL REFLECTION At this design phase we had revisited the acoustic optimization process which meant drastic changes to the design of the shell and ultimately the overall design of the main stage. However, it was satisfying to see how much the design has evolved from the geometrical model in assignment 1. The final form of the shell still retains the core design elements from the first assignment through the design variable process. Once the form had been finalized, the next step was to determine the structural and construction method of the shell. I found that this was the hardest yet most fulfilling design phase. This is because there is a transition from an idea to an attainable reality. The fact that we had to design the shell structure as well as the connections between them were time consuming but it demonstrated me the importance of truly understanding your own design, no matter the scale. Another note worth mentioning is the importance of establishing a concept at the early stages of the design. I found that through the development of my design I had strayed away slightly from my concept because I was so focused on a specific task that I had neglected the overall idea of the brief. Fortunately, during the mid-term through the feedbacks I had received I have realized this issue and continued to design based on the concept I had chosen at the start. Overall, this studio had taught me a lot about design and critical thinking, effective work flow, large and small scale design/planning and many more, that I will continue to practice and develop in the future.

APPENDIX A ELEMENTS OF MUSIC

ELEMENTS OF MUSIC, MICHAEL MACK, 2020

Elements of music note was an important aspect in the aural observation of the chosen songs. Since I had little to no background in music I relied on these notes to understand the composition of the songs.

APPENDIX B AURAL OBSERVATION

HIGH FREQUENCY PERFORMANCE

BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

CLARITY / ARTICULATION

BALANCED MELODY + ACCOMPANIMENT

CLARITY / ARTICULATION

AMPLIFICATION

DESIGN 1

LISTEN TEST SONG #2

What is the texture of the song?

Overall clarity / articulation

•

Guitar power chords sounds stronger (possibly due to directional design)

•

Vocal still sounded drowned out by melody + accompaniment

High frequency vs. Low frequency

•

Overall, high frequency performed slightly better •

•

Guitar power chords sounds stronger (possibly due to directional design)

Overall clarity / articulation

•

Percussion (especially the sound of hi-hat and snare) sounded crisp Guitar riffs and licks sounded slightly clearer and articulate

High frequency vs. Low frequency

DESIGN 2

Amplification NOTES

• •

•

3/5 •

•

Cello sounds a lot more ‘buzzier’ and ‘darker’ possibly just due to amplifications (?) • Piano is still overpowered by cello

•

Clarity and articulation is better than raw listening but not significant

Similar to raw listening

Overall, high and low frequency sounded similar to raw listening

Sharpness in cello

•

• •

NIL

Low frequencies between cello and piano are occurring at the same time with cello being the dominant melody

1.5/5

•

LISTEN TEST SONG #2 • •

•

Vocals performed better than design 1 however, still ‘muffled’ Overall, high frequency performed slightly better

LISTEN TEST SONG #3

2.5/5

• This iteration was to test a different mouth form Might have to repeat this design with some variations in folds/textures*

Overall, it sounds slightly more balanced compared to design 1

How does melody sound in comparison to the accompaniment?

Vocals

Similar to raw listening

•

LISTEN TEST SONG #1

•

• •

•

Similar to raw listening

2/5

NOTES

What is the texture of the song?

•

Guitar lick A (high frequency) sounded clearer

Vocals

Amplification

DESIGN 1

AMPLIFICATION

DESIGN 2

LISTEN TEST SONG #1 How does melody sound in comparison to the accompaniment?

LOW FREQUENCY PERFORMANCE

Although trumpet still sounds stronger than trombone it is now a lot more clearer • Accompaniment is slightly better than design 1

•

• Percussion is a lot clearer Other instruments- piano, cello, clarinet are not as clear •

•

LISTEN TEST SONG #3

Trumpet is sharp and thin

High frequency (trumpet) still remains dominant and sharp on the ears, whereas, trombone is clear but still overpowered by trumpet •

3/5

Sharpness in cello is a lot more powerful Texture of piano is thick and heavy

• Cello is ‘buzzier’ than in design 1 (clarity) Piano is not entirely overpowered by cello (able to distinguish the accompaniment)

•

NIL

•

Clarity and articulation in cello and piano

• •

NIL

Low frequencies between cello and piano is a lot more pleasant to the ears in this design (possibly due to clarity in melody and accompaniment) •

3/5

Overall, result is quite similar to design 5, despite different texture (folds) however, results are not as good as design 5

APPENDIX B AURAL OBSERVATION

HIGH FREQUENCY PERFORMANCE

BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

CLARITY / ARTICULATION

BALANCED MELODY + ACCOMPANIMENT

CLARITY / ARTICULATION

AMPLIFICATION

DESIGN 3

LISTEN TEST SONG #2

What is the texture of the song?

•

How does melody sound in comparison to the accompaniment?

•

Overall, performed poorly compared to design 1 + 2, the melody and accompaniment sounded as if it was without a shell structure

Overall clarity / articulation

•

Lack in clarity and articulation from the instruments

•

Vocal still sounded drowned out by melody + accompaniment

High frequency vs. Low frequency

•

Overall, high frequency performed slightly better

Amplification

•

Overall, sounds well balanced (whole)

LISTEN TEST SONG #3 •

Counter-melody between trumpet (strong) and trombone (clear)is well balanced

• •

•

Overall, melody and accompaniment sounds similar to raw listening.

•

Similar to raw listening

NIL

•

Balanced counter-melody: high and low frequency

2/5

Overall performed quite poorly as compared to previous 2 designs.

•

• Percussion is clearer Other instruments- piano, cello, clarinet are slightly clearer than in design 1+2

•

Vocals

•

NIL

Similar to raw listening

3.5/5

•

2.5/5

NOTES

LISTEN TEST SONG #1 What is the texture of the song? How does melody sound in comparison to the accompaniment?

•

LISTEN TEST SONG #2

Guitar riffs sounds slightly thicker, guitar licks sounds sharp and thin (but slightly distorted)

•

Melody from guitar is dominant, accompaniment can be heard however it sounds ‘jumbled’

•

Overall clarity / articulation

•

Guitar lick A (high frequency) sounded clearer

Vocals

•

Vocal sounds similar to design 2 (good, but still slightly muffled/distorted)

High frequency vs. Low frequency

•

Low frequency performed better than in design 1 + 2 + 3, and high frequency although not as clear, still performed well.

Amplification

DESIGN 4

AMPLIFICATION

DESIGN 4

LISTEN TEST SONG #1

DESIGN 3

LOW FREQUENCY PERFORMANCE

NOTES

•

3/5

Counter-melody performed poorly.

•

Lack in clarity / articulation • •

•

Sharpness in cello is slightly more noticeable than in design 3

Cello sounds ‘buzzier’ and ‘darker’ compared to design 3 but not design 1 + 2 • Piano is still overpowered by cello • Cello sounds a lot more ‘full’ without accompaniment Clarity and articulation is better than raw listening but not significant

NIL

Similar to raw listening

• •

LISTEN TEST SONG #3

Overall, sounded muffled and distorted

• •

NIL

Low frequencies between cello and piano are occurring at the same time with cello being the dominant melody

1/5

This is however, the opposite for HELLO DOLLY. It is very similar to raw listening. • Might have to re-do sound testing for this iteration*

•

1.5/5

APPENDIX B AURAL OBSERVATION

HIGH FREQUENCY PERFORMANCE

BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

CLARITY / ARTICULATION

BALANCED MELODY + ACCOMPANIMENT

CLARITY / ARTICULATION

AMPLIFICATION

DESIGN 5

•

How does melody sound in comparison to the accompaniment?

DESIGN 5

LISTEN TEST SONG #2 •

Overall sounds well balanced and whole compared to design 3

•

Sharpness in cello is present, piano is thick and heavy (starts) and thin and bright (towards the end)

• Power chords sounded quite strong, powerful and clear compared to previous designs.

•

Counter-melody is well balanced (trombone is no longer ‘overpowered’ by trumpet, although trumpet is still stronger

•

Good balance between melody + accompaniment (clarity and articulation in piano), not entirely overpowered by cello

•

Guitar lick A (high frequency) sounded clearer

Vocals

•

Vocals performed better than the other previous structure. The vocal is clear and distinct

High frequency vs. Low frequency

•

Overall, high frequency performed quite well in this structure.

Amplification

•

Guitar licks and riffs performed the best in this design.

How does melody sound in comparison to the accompaniment?

•

Power chords sounds significantly stronger (possible due to high amplification?) • Percussions (snare, hi hat sounds a lot more clearer)

High frequency vs. Low frequency

Amplification

DESIGN 6

NOTES

•

Guitar lick A (high frequency) sounded clearer

•

4/5

Similar to design 5, however, piano sounded a lot clearer and articulate than design 5

•

Overall similar to design 5, sharpness in cello is present, piano is thick and heavy (starts) and thin and bright (towards the end) Overall similar to design 5, good balance between melody + accompaniment (clarity and articulation in piano), not entirely overpowered by cello Clarity and articulation in both cello and piano (can be better)

NIL

High frequency (trumpet) still remains dominant and sharp on the ears, whereas, trombone is clear but still overpowered by trumpet •

•

3.5/5

LISTEN TEST SONG #3 •

Similar to design 5

•

High frequency performed well, however, low frequency sounded distorted or with reverberations (?)

NIL

Low frequency of cello and piano performed well in this design

3/5

Possibly sounded more balanced than design 5 •

Vocal sounds powerful and sharp.

•

LISTEN TEST SONG #2

•

Clarity and articulation in both cello and piano (can be better)

This iteration performed 2nd best in terms of amplifying and clarity.

LISTEN TEST SONG #1 What is the texture of the song?

•

NIL

High frequency is still stronger than low frequency, but it is a lot more balanced compared to previous designs

3/5 •

•

• Percussion is a lot clearer However, piano did not perform as well in this design

•

NOTES

Vocals

LISTEN TEST SONG #3

Guitar lick sounds a lot thinner, higher and sharper. Guitar riffs sounds slightly thicker (but nothing significant)

Overall clarity / articulation

AMPLIFICATION

DESIGN 6

LISTEN TEST SONG #1 What is the texture of the song?

LOW FREQUENCY PERFORMANCE

• •

NIL

Performs better in high frequency (towards end of song) but lower frequency although is good but not as good compared to high frequency

3.5/5

This iteration performed the best in terms of amplification and clarity. • High frequency performed the best in this iteration.

•

4/5

APPENDIX B AURAL OBSERVATION

HIGH FREQUENCY PERFORMANCE

BALANCED MELODY + ACCOMPANIMENT

LOW FREQUENCY PERFORMANCE

CLARITY / ARTICULATION

AMPLIFICATION

DESIGN 7

LISTEN TEST SONG #1 What is the texture of the song?

•

How does melody sound in comparison to the accompaniment?

Overall clarity / articulation

•

Guitar riffs are a lot weaker (less thick, less powerful), however, guitar licks (high frequency) is a lot more pleasant to the ears

•

Texture of trumpet sounds powerful but not too sharp on the ears. Trombone sounds heavy and thick and a lot distinctive

• Power chords sounded quite strong, powerful and clear compared to previous designs. • Accompaniment sounds mixed and jumbled up (possible from high reverberations?)

•

Trumpet is still dominant but sounds almost ‘equal’ to trombone Accompaniment performed well in this design

Overall, the song lacks clarity and articulation (very jumbled) quite unpleasant to the ears

Vocals High frequency vs. Low frequency

Amplification

DESIGN 7

NOTES

LISTEN TEST SONG #2

• •

•

Vocal is strong but distorted

High frequency performed quite well (high frequency here sounded less sharp), however, low frequency performed the worst here

•

2.5/5

LISTEN TEST SONG #3 •

•

Not necessarily clearer but high and low frequency performed better on the ears •

Good balance between melody + accompaniment (clarity and articulation in piano), not entirely overpowered by cello

•

NIL

•

The low and high frequency are quite desirable in this design. • High frequency is less sharp • Low frequency sounded deeper, stronger, and ‘full’ • This is possible due to the internal linings of design (increase fold = sturdy material?) •

Sharpness in cello is controlled more desirable to the ears, piano is thick and heavy (starts) possibly slightly muffled

Clarity and articulation is good

• •

NIL

High frequency of cello and piano (later in the snippet) is desirable / more controlled and less sharp on the ears • Low frequency performed well but slightly muffled

3/5

• The design was held down with my hands • The front/mouth of the design is slightly curled upwards • Folds are present in the internal linings of the design

•

3/5

APPENDIX C SOUND PRESSURE LEVEL ANALYSIS: PACHYDERM_1

GRASSHOPPER PACHYDERM SCRIPT 1

This grasshopper script basically laid out the sound source, sound receiver, acoustic shell as well as being able to visualize ray tracings. However, at this stage we were only able to select 1 sound source point and 1 sound receiver point.

APPENDIX C SOUND PRESSURE LEVEL ANALYSIS: PACHYDERM_2

GRASSHOPPER PACHYDERM SCRIPT 2

This grasshopper script allowed us to set multiple sound source and multiple sound receiver similarly to an occupied live performance. This script also includes a histogram that represents the sound level pressure distribution as well as a panel displaying the standard deviation. What we are trying to achieve here in terms of sound pressure level distribution is having the histogram form as closely to a Gaussian curve and a low standard deviation number.

APPENDIX D MICRO-ITERATION & PACHYDERM EVALUATION SOUND SOURCE NO. : 0

SOUND SOURCE NO. :1

SOUND SOURCE NO. :2

SOUND PRESSURE LEVEL DISTRIBUTION

SOUND SOURCE NO. :3

SOUND SOURCE STAGE (20x10m) AUDIENCE (20x10m)

WITHOUT SHELL

STANDARD DEVIATION (SD): 4.44

5.5m

3.5m1

SD: 3.82

ITERATION 6 (A)

8.3m

3.8m

1.1m

ITERATION 6 (B)

5.32

SD: 3.63

8.3m

3.81

1.10

ITERATION 6 (B1)

5.32

SD: 4.07

9.94

ITERATION 6 (B2)

3.81

1.10

SD: 3.65

APPENDIX D MICRO-ITERATION & PACHYDERM EVALUATION SOUND SOURCE NO. :1

SOUND SOURCE NO. :2

SOUND SOURCE NO. :3

5.32

SOUND SOURCE NO. : 0

SOUND PRESSURE LEVEL DISTRIBUTION

8.26

4.89

1.11

ITERATION 6 (B3)

SD: 3.65

8.3m

4.5m

0.9m

ITERATION 6 (B4)

5.32

SD: 3.72

8.26

4.46

0.90

ITERATION 6 (B4)1

SD: 3.69

6.68

6.08

3.81

1.12

ITERATION 6 (C)

6.68

SD: 4.11

6.07

ITERATION 6 (C1)

3.81

1.12

SD: 3.82

APPENDIX D MICRO-ITERATION & PACHYDERM EVALUATION SOUND SOURCE NO. :1

SOUND SOURCE NO. :2

SOUND SOURCE NO. :3

6.68

SOUND SOURCE NO. : 0

SOUND PRESSURE LEVEL DISTRIBUTION

6.07

4.87

1.13

SD: 3.96

ITERATION 6 (C1)1

4.79

6.07

3.43

0.99

ITERATION 6 (D)

6.68

SD: 4.48

8.26

3.81

1.12

ITERATION 6 (E)

6.68

SD: 4.04

8.26

3.81

1.12

ITERATION 6 (E1)

SD: 3.74

6.68

8.26

ITERATION 6 (E1)1

4.88

1.13

SD: 3.94

APPENDIX D MICRO-ITERATION & PACHYDERM EVALUATION SOUND SOURCE NO. :1

SOUND SOURCE NO. :2

SOUND SOURCE NO. :3

6.68

SOUND SOURCE NO. : 0

SOUND PRESSURE LEVEL DISTRIBUTION

9.63

3.81

1.12

ITERATION 6 (E2)

6.68

SD: 3.80

9.63

4.87

1.13

ITERATION 6 (E2)1

6.68

SD: 3.74

9.63

4.87

2.41

ITERATION 6 (E2)2

SD: 3.83

9.6m

4.9m

2.4m

ITERATION 6 (E2)3

6.68

SD: 3.83

9.63

ITERATION 6 (E2)4

4.87

2.41

SD: 3.65

APPENDIX D

6.68

MICRO-ITERATION & PACHYDERM EVALUATION

9.63

4.88

2.41

SD: 3.69

6.68

ITERATION 6 (E2)5

ITERATION 6 (E3)

I have made micro-iterations to design 6 from changing the width, height, depth, openings, and narrow throat and more. I then record these iterations and pick the top 3 iterations that has a histogram that closely represents a Gaussian curve as well as a low standing deviation number. From this, I recreate the digital model to a physical model to test their performances based on the 5 criterion that I chosen at the start of the task in determining a successful acoustic shell. I compare these results using the same radar graph that I used in determining the chosen design for micro-iteration. This way I am able to pick the â&#x20AC;&#x2DC;bestâ&#x20AC;&#x2122; performing acoustic shell.

11.77

3.81

1.12

SD: 3.68

APPENDIX E

PRECEDENT STUDY: MUSIC FESTIVAL/CONCERT TOMORROWLAND, ANTWERP, BELGIUM

FESTIVAL MAP, TOMORROWLAND, 2019.

DREAMVILLE, TOMORROWLAND, 2019.

TOMORROWLAND 2016 STAGE SET,PHILIPPE WUYTS, 2016.

TOMORROWLAND, is a 3 day electronic dance music festival located in Belgium. It started in 2005, it has now become one of the most renowned music festivals in the world. Tomorrowland is also known for its intense energy and decorations which contributes to the immersive experience for festival-goers. The site is surrounded by lakes, trees, hills and fields. The campsite is approximately 45 minute walk from the festival, however, events are scattered across the journey keeping the festival-goers entertained.

BURNING MAN, NEVADA, USA

ILUMINA, THE CONFLUENCE GROUP, 2017.

PULSE AND BLOOM, JIM URQUHART, 2014.

LORD SNORT, BRYAN TEDRICK , 2016.

Burning man is an event that celebrates community and art. The event features interactive art installations inspired by technology and a connection to nature. These art installations are scattered throughout the site, people are encouraged to interact with it by climbing, touching, and or sitting on it.

APPENDIX E

PRECEDENT STUDY: MUSIC FESTIVAL/CONCERT DALHALLA, RATTVIK, SWEDEN.

DALHALLA, VISITDALARNA, 2020.

DalhallaI is an open air theatre located in former limestone quarry (400x175x55m) in Rattvik, Sweden. Used as a summer festival music venue with an audience capacity of between 4800-6000.

RED ROCKS AMPHITHEATER, COLORADO, USA

RED ROCK AMPHITHEATRE, COLORADO MUSIC HALL OF FAME, 2019.

RED ROCK AMPHITHEATRE MAP, COLORADO MUSIC HALL OF FAME, 2019.

Red Rocks is an open air amphitheater built in between 2 gigantic sandstone boulders, creating a natural acoustic surrounding. Similarly to DALHALLA, a renowned opera singer Mary Garden pronounced Red Rocks the best venue she has ever performed in (1911), putting it on the world musical map. It has an audience capacity of approximately 9500. Several species of native trees and plants can be viewed along the trail and in the Red Rocks vicinity in general, as well as a variety of species of animals and birds.

APPENDIX E GORGE AMPHITHEATER, WASHINGTON, USA

GORGE AMPHITHEATER, RENE HUEMER, 2020.

THE GORGE AMPHITHEATER, GORGE CAMPING, 2020.

GORGE AMPHITHEATER SEATING CHART, GORGAMPHITHEATER, 2020.

MAP LAYOUT, GORGE CAMPING, 2020.

This venue has an audience capacity of 27,500. Concert-goers can also stay in the campgrounds. The musical event overlooks the river Gorge and hills of Okanogan-Wanatchee National Forest, and with the same reason the campgrounds at Gorge is popular among concert-goers.

EXIT, NOVI SAD, SERBIA.

EXIT FESTIVAL 2019, FESTICKET, 2019.

EXIT FESTIVAL MAP, EXIT FEST, 2019.

EXIT is a summer music festival located in PETROVARADIN FORTRESS in Novi Sad, Serbia. What I find interesting about this music event is the venue, with multiple stages and events happening in close proximity to the main stage. Just like many modern music festival, EXIT is a 3 day event. Campgrounds are offered for festival-goers but they are not as well planned or designed as compared to many other high-profile music festivals. Temporary tents are set up with portable toilets located next to the camps.

APPENDIX E

PRECEDENT STUDY: ART INSTALLATION PARK

WOVEN BRANCH CIRCULAR ARCH, ANDY GOLDSWORTHY, 1986.

SYCAMORE STICK LINES, ANDY GOLDSWORTHY, 1983.

As I was researching of different types of art installations I was drawn to the works of Andy Goldsworthy, where he creates landscape arts using materials that he finds on site. Another way to describe his art is ephemeral art. I find that this idea of art sculptures ties in well with my design concept. Users exploring the site are guided by the locations of the art installations and are constantly reminded of the fleeting nature of the art works and potentially giving them a sense of appreciation for present time.

RAIN SHADOW, ANDY GOLDSWORTHY, 1984.

BALANCED RIVER STONES, ANDY GOLDSWORTHY, 1982.

APPENDIX F

SECTION AA: MID-TERM

MAIN STAGE ISOMETRIC VIEW

1 2

25M

1. STAGE 2. BACKSTAGE 3. STALL 4.LAWN SEATING 5. LAWN SEATING ENTRY

APPENDIX G DESIGN SPACE CONSTRUCTION SINUSOIDAL MAIN PROFILE

OFFSET OUTER POINTS

NEW SINUSOIDAL CURVE

MID+BACK PROFILE

LOFT SHELL SURFACE

RECORD + DISTRIBUTE ITERATIONS

RANDOMIZE ITERATION WITHIN PARAMETERS

VARIABLES 1. 2. 3. 4. 5.

MAIN PROFILE KINK: Length of ‘amplitudes’ of the sinusoidal form MAIN PROFILE SHAPE: Depth of ‘groove’- outer part of sinusoidal form SHELL DEPTH: Distance from the front to the back of stage BACK PROFILE SIZE: Size of the back of stage profile SIDE PROFILE CURVATURE: The amount of curvature inward/outward

Gabriel ran us through the ‘Design Space Construction’ script where we generate random models based on the variables that we have chosen. Since I had been working with the model that performed the best in the first assignment through out the semester I thought that it would be appropriate to test my initial observations. I have listed 5 different variables that make up the design of the shell. This script however only generates random models without running it through the acoustic simulation / optimisation process. This is just to visualize the design potential based on the variables chosen. However, the design space construction process does not stop here. The variables are meant to be tweaked whether if it was to add or subtract variables or even adjust the range of each variables until it has reached the intentions of the design.

APPENDIX G ITERATIONS

APPENDIX H

OCTOPUS OPTIMIZATION

REVISED VARIABLES 1. MAIN PROFILE KINK: Length of ‘amplitudes’ of the sinusoidal form 2. MIDDLE CURVE POSITION: Position of curvature along shell 3. SIDE PROFILE CURVATURE: The amount of curvature inward/outward

SOUND SOURCE 1. FRONT OFF-CENTRE 2. SIDE OF SHELL 3. BACK OF SHELL

FIXED VARIABLES 1. BACK PROFILE SIZE 2. MAIN PROFILE SIZE 3. SHELL DEPTH

In this new script, Gabriel has taught us how to carry out an acoustic simulation / optimization process using the variables that we have picked. As you can see, I have cut mine down to 3 variables from the initial 5-6. I had done this because I realised that once I included the sound sources the shell has a tendency to be as close to the sound source therefore having a fixed variables is important in maintaining the shell’s design intentions. My variables now include (1) Main Profile Kink (2) Middle Curve Position (3) Side Profile Curvature.

APPENDIX H

OCTOPUS OPTIMIZATION

SOUND SOURCE NO: 0 OFF-CENTER

SOUND SOURCE NO: 1 SIDE

SOUND SOURCE NO: 2 BACK

SOUND PRESSURE LEVEL DISTRIBUTION

OCTOPUS OPTIMIZATION

WITHOUT SHELL

SD 0: 2.72 | SD 1: 2.98 | SD 2: 2.69

GEN 26

SD 0: 3.39| SD 1: 2.99 | SD 2: 2.90

Initially I had included on 2 sound sources however I decided to include 3 sound sources because I wanted to test the (1) Front + off center of shell (2) Side of shell (3) Back of shell. However, the downside to this is that the optimisation process runs twice (maybe more) longer. Unfortunately I had only reached up to generation 26 in the span of 1 and 1/2 days due to some technical issues. Upon reviewing my work to Gabriel he raised some issues that includes:1. Receiver range is too high that is why the receiver surface is mostly in dark blue. 2. I should represent the variables in diagrams rather than script as it is hard to understand and follow 3. Include legends to the optimization process

APPENDIX H

OCTOPUS OPTIMIZATION SOUND SOURCE NO: 0 OFF-CENTER

SOUND SOURCE NO: 1 SIDE

SOUND SOURCE NO: 2 BACK

SOUND PRESSURE LEVEL DISTRIBUTION

GEO 1

SD 0: 3.71| SD 1: 4.04 | SD 2: 3.29

GEO 5

SD 0: 4.72| SD 1: 4.56 | SD 2: 3.96

As I had mentioned, I had only reached to 25 generation with 50 population. However, I wanted to compare the optimized solution with another. Since I was unable to do so with new generations I had decided to manually morph the shell and record the SPL for comparison. This method is clearly not efficient but it gives a better understanding (and appreciation) to the optimization process. As expected, the manually designed shells did not perform as well as Gen 25. This is confirmed by the standard deviation number (you generally want it low) and a SPL distribution that represents a Gaussian curve. If I were to continue the optimisation process I would use the best solution in generation 25 and include new variables that only changes the tip of the shell rather than the base and overall form. That way I am able to retain the overall form of the shell without compromising the design plan of the backstage that is attached to the lower part of the acoustic shell.

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD PRE-FORMED GRIDSHELL

GREAT COURT, BRITISH MUSEUM, FOSTER + PARTNERS / BURO HAPPOLDS, (2002)

The Great Court, 2020.

STRUCTURE

• • • •

Roof structure is formed by a net of triangular cells (straight members) Roof members are connected to circular steel beam on perimeter Glazed roof covers 5900m2 Whole roof structure weighs approximately 800 tonnes

MATERIAL

• •

waagner biro- https://wb-sg.com/projects/queen-elizabeth-ii-great-court-british-museum/ Final net consists of 4878 members, 1566 nodes and 3312 insulating glass panels

CONNECTION

• •

Node was developed to allow for connection of all members and transform forces (bending moments). Node consist of 6 legs in which roof members fits between 2 legs

ASSEMBLY

•

Steel members are welded on site with support from scaffoldings and props

STRUCTURE

• • •

The grid shell roof structure consists of 7700 unique timber members (computer aided) Timber members are fabricated with a precision of 0.1mm Roof structure covers 11,000m2

MATERIAL

• •

https://www.lehmann-gruppe.ch/en/holzbau/referenz/swatch-s1.html Swiss spruce tree - laminated timber beams

CONNECTION

•

Logistical challenge- precision of the installation process (correct elements in the right order for construction)

ASSEMBLY

• • •

The entire construction consists of 4600 unique timber beams Gridshell structure was assembled on site using cranes https://www.lehmann-gruppe.ch/en/holzbau/free-form/swatch.html

The Great Court Roof Detail, 2020.

SWATCH HEADQUARTERS, SWITZERLAND, SHIGERU BAN ARCHITECTS, (2019)

NOTES SWATCH HEADQUATERS STRUCTURE, SHIGERU BAN ARCHITECTS, 2019.

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD SOUTHERN CROSS STATION, AUSTRALIA, GRIMSHAW + DARYL JACKSON ARCHITECTS / WINWARD STRUCTURES STRUCTURE

• • •

Primary spine trusses were constructed first to minimise temporary propping for later roof truss Spine truss connected to columns (fixed base) Roof structure covers 37,000m2

MATERIAL

•

All primary + secondary roof members are constructed using pre-fabricated CHS

CONNECTION

•

Roof elements are unique with its own unique location (precision in installation process)

ASSEMBLY

•

https://www.steel.org.au/resources/elibrary/resource-items/the-new-southern-cross-station-mar06/ download-pdf.pdf/ Primary spine trusses are constructed first (one-way) followed by roof truss (two-way) Pre-fabricated truss sections require temporary prop midway between columns until the specific area is fully constructed.

• • NOTES

PRE-FABRICATION BUGA WOOD PAVILION, ARCHIMMENGES, 2019.

STRUCTURE

• • • •

New approach to digital timber construction 376 hollow timber segments All segments fit together with sub-millimeter precision (ie lego) Structure remain fully reusable / can be deployed

MATERIAL

•

Larch, Hollow timber segments (less material)- Each timber segment is built up from 2 thin plates (large hollow timber case)

CONNECTION

•

Timber segments are connected by finger joints

ASSEMBLY

• •

It can be assembled in 10 days by a team of 2 craftsmen without scaffoldings etc Once assembled EPDM foil laid on top for waterproofing

NOTES

•

http://www.achimmenges.net/?p=20987

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD POST-FORMED GRID SHELL

MULTIHALLE MANNHEIM, GERMANY, FREI OTTO / TED HAPPOLD (1975) STRUCTURE

• • • •

The gridshell is built up out of double layered mat of laths Hemlock Pine There are 4 different edge supports: concrete foundations, cables, laminated timber beams and arches. Roof structure covers 74,000m2 4 layers of lath (double)

MATERIAL

• •

Hemlock Pine as it performed best in terms of shrinkage and creep, as well as for its straight grain and availability in long lengths (longest 85m) 50x50mm

CONNECTION

• •

Typical node detail: Laths are connected (bolted) together in the nodes 33,000 nodes

ASSEMBLY

• •

Gridshell was erected by pushing up the lattice from underneath (flat to curve) Pins (nodes) were tightened to retain shape

NOTES

• • •

Stability: Steel cable bracing (dependent on tension on cables) https://homepage.tudelft.nl/p3r3s/MSc_projects/reportToussaint.pdf https://www.slideshare.net/whysodumbdotcom/understanding-gridshell-structures-mannheim-multihalle-case-study

WEALD + DOWNLAND GRIDSHELL, ENGALND, EDWARD CUTTINAN / BURO HAPPOLD (2002)

STRUCTURE

•

Instead of pushing or lifting the grid against gravity, it was lowered into position.

MATERIAL

• •

Oak laths, 50x35mm (best in bending, stiffer than other species and has high bending strength) 4 layers (double)

CONNECTION

•

Typical node detail consist of 3 plates, connected with 4 bolts

ASSEMBLY

•

Gridshell was lowered into position - adjustable jacks to form final shape

NOTES

• • •

Stability: Timber laths as rigid bracing https://homepage.tudelft.nl/p3r3s/MSc_projects/reportToussaint.pdf https://www.youtube.com/watch?v=VBWcDP_oMpE

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD SAVILL VISITOR CENTRE, SURREY, GLEN HOWELLS ARCHITECTS/BURO HAPPOLD (2006)

STRUCTURE

• • •

The grid shell is a symmetrical surface Surface is in the form of sinusoidal wave (smooth periodic oscillation) Double layered grid with mesh size of 1m

MATERIAL

• • •

Larch- strength + durability Steel CHS (perimeter) 80x50mm

CONNECTION

• •

Typical node detail: Laths are connected (bolted) together in the nodes 33,000 nodes

ASSEMBLY

•

Laths are laid out into temporary frame - once in place the laths are screwed together.

NOTES

• •

Stability: Continuous sheeting providing shell action https://homepage.tudelft.nl/p3r3s/MSc_projects/reportToussaint.pdf

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD POTENTIAL SHELL CONSTRUCTION STRUCTURE

• •

BUGA Wood Pavilion Material: Timber PROS

•

Cost efficient (least labor intensive/ no scaffolding / no form-work etc) • Lightweight structure • Easy assembly • Can be repositioned • Smaller carbon footprint than steel or concrete

STRUCTURE

• •

CONS •

• Limitation in choice of material Requires precision in manufacturing timber segments (for connection) • High initial cost for manufacturing timber segments

SWATCH Headquarters / The Great Court in British Museum Material: Timber/Steel/Concrete PROS

•

CONS

• Flexibility in material choice • Somewhat easy assembly Arches are somewhat structurally independent (?)

STRUCTURE

• •

•

Arches with suspended roof Material: Timber/Steel/Concrete PROS

•

Requires labor + scaffolding

• Flexibility in material choice • Arches are structurally independent Flexibility in the form of roof (can be changed for specific event)

CONS • •

Visually inaccurate to the original design • More complexity in assembling • Labor intensive More material used in construction/structure

Prior to testing the shell in Octopus, I decided to carry out some studies on the potential construction method of the shell. Despite not knowing the exact shell form, I picked the shell from midterms. Initially I had included some precedent studies on grid shells however later found that it was not suitable for my design due to the constant curvature (sinosodial) of the structure. From my analysis I narrowed down to 3 potential construction methods. (1) Prefabricated Timber Panels (2) Segemented Archs (3) Arch with suspended roof. In my opinion I was drawn towards the idea of arch with suspended roof as it allows for flexibility in the form of the roof/ceiling that can accommodate to specific acoustical performance. However, after presenting my works, Sofia raised some issues if I were to choose this method. The main concern would be the vibration that the roof may encounter if it were to be suspended with steel cables.

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD Mechanical telescopic cylinder Service compartment Outer shell

Flexible acoustic panel

Flexible acoustic panel section Solid acoustic panel section

FLEXIBLE ACOUSTIC PANEL Dukta Flexible Wood (DUNA) - https://dukta.com/wp-content/uploads/2017/06/dukta_IT_DUNA.pdf â&#x20AC;˘ Double sided incision grid allows it to bent and twist 3 dimensionally â&#x20AC;˘ Issue with using this is as an acoustic panel is the open area (15%) // can be addressed by only have sections of the inner shell with the flexible panels and the other parts with solid panels This week I had attempted to create a new design solution of the arch suspension method. Since the main issue is the vibration and my lack of desire for the shell to resemble the arch suspension precedents in my initial precedent studies I had come up with the idea of archs with mechanical telescopic cylinder attached to a flexible acoustic panel. That internal skin can morph to a shape that can accommodate for a specific kind of acoustic performance. However, upon reviewing my ideas to Sofia and Michael I realized there were just too many issues that I had not thoroughly thought through such as, the durability of the flexible acoustic panel, the likelihood of the internal shell to morph for a specific acoustic performance (unlikely), and more. This method of construction definitely ambitious but due to the time constraint I had to pick a method to move forward in the optimization process. Therefore, I had picked my second choice- prefabricated timber panels.

APPENDIX I

PRECEDENT STUDY: SRUCTURE + CONSTRUCTION METHOD

PRECEDENT

• •

BUGA Wood Pavilion Material: Timber PROS

•

PLAN

Cost efficient (least labor intensive/ no scaffolding / no form-work etc) • Lightweight structure • Easy assembly • Can be repositioned • Smaller carbon footprint than steel or concrete

CONS •

• Limitation in choice of material Requires precision in manufacturing timber segments (for connection) • High initial cost for manufacturing timber segments

SIDE ELEVATION Buga Wood Pavilion

PRECEDENT

• •

SWATCH Headquarters / The Great Court in British Museum Material: Timber/Steel/Concrete PROS

CONS

•

The Great Court

PLAN

•

Flexibility in material choice • Somewhat easy assembly Arches are somewhat structurally independent (?)

•

Requires labor + scaffolding

FRONT ELEVATION

Swatch HQ

PRECEDENT

• •

Arches with suspended roof by Heino Engel, Tragsysteme Material: Timber/Steel/Concrete PROS

• Arch suspension, Tragsysteme, Heino Engel

FRONT ELEVATION

POTENTIAL CONSTRUCTION METHOD

• Flexibility in material choice • Arches are structurally independent Flexibility in the form of roof (can be changed for specific event)

CONS • •

Visually inaccurate to the original design • More complexity in assembling • Labor intensive More material used in construction/structure

APPENDIX J

PRECEDENT STUDY: TYPES OF STAGE LIGHTING

STAGE LIGHTING

TYPES OF LIGHTING FIXTURES

SPOT LIGHT

Also known as ‘Profile Spot’, mainly has a hard-edges effect but can also be adjusted to have a soft edged beam effect similarly to wash lights. It can also project shapes and images using ‘GOBO’, a metal disc with cut-outs.

BEAM LIGHT

Beam light produces intense narrow beam of light. GOBO can also be used in these lights but it is not as pronounced as compared to spot lights. It is extensively used in Rock and Roll concerts.

WASH LIGHT

Bathes surface/area/people with soft edged beam. Beam size can be adjusted. It distributes light across quite evenly, however, it cannot keep light off certain areas like spot lights.

FLOOD LIGHT

Flood lights produces a wide spread of light and cannot be adjusted.

LED

Light emitting diode can recreate various of colour combinations. They do not produce much heat, and do not draw a lot of power.

LIGHTING SET-UPS

STAND

Used where there is no overhead bars or truss. Potential tripping hazard.

BARS

Lightings are hung from bars. ‘Hook clamps’ are used to attach the lighting firmly to bar.

TRUSSES

It consists of aluminium allow tubing. It is stronger than bars. It can be suspended or free standing.

FLOOR

Lighting is positioned on the floor. Potential tripping hazard.

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Reference Beranek, L. (2003). Concert Halls and Opera Houses. Retrieved from file:///C:/Users/Brenda/Downloads/Beranek%20-%20Concert%20Halls%20and%20Opera%20Houses%20(1).pdf Strong, J. (2010). Theatre Buildings: A Design Guide. Madison Avenue, NY: Routledge. U.S. Department of Veteran Affairs. (2014). Polytrauma Rehabilitation Center: Design Guide. Retrieved from https://www.cfm.va.gov/til/dGuide/dgPRC.pdf NHS Estates. (2000). Facilities for Rehabilitation Services. Retrieved from http://www.wales.nhs.uk/sites3/documents/254/HBN%2008%20Rehab2000.pdf Holding, E. (2000). Staged Architecture: The work of Mark Fisher. Retrieved from file:///C:/Users/Brenda/Downloads/Eric%20Holding%20-%20Mark%20Fisher%20Staged%20Architecture.pdf Earthresources. (2020). Code of Practice for Small Quarries. Retrieved from https://earthresources.vic.gov.au/legislation-and-regulations/guidelines-and-codes-of-practice/code-of-practice-for-small-quarries#rehabilitation IUCN, et al. (2015). Mediterranean Quarry Rehabilitation Manual. Retrieved from https://portals.iucn.org/library/sites/library/files/documents/2015-029.pdf Andy Goldsworthy. Andy Goldsworthy Digital Catalogue. Retrieved from https://www.goldsworthy.cc.gla.ac.uk/image/?id=ag_03744&t=1