Resonate // MSD Studio 30 // Art Waves Journal

art waves

JEREMY BONWICK MELBOURNE SCHOOL OF DESIGN STUDIO 30

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a stone is dropped into a lake...

a chord is strummed o n a g u i t a r. . .

art waves 2

introduction A repurposed quarry site in rural Victoria, near the town of Colac which, by car, is approximately two hours out of Melbourne. The site is revitalised through the intervention of a festival precinct which will operate during the summer months along with a year-round program — a School of Art which provides for traveling students from Melbourne to stay on site in accommodation facilities as well as the almost 1500 local students in the area, a camping ground which operates in tandem with the accommodation as well as the festival as well as spaces for dining and events.

The semester’s investigation began with the first brief which was to become familiar with the acoustic terminology, theories and optimization through qualitative and quantitative means. The handmodeling component of this task generated iterations quickly but also began to instill an instinctive

understanding of the acoustic properties of different geometries.

The eventual designs for the acoustic shell that sits on the site is a direct result of some of the iterations in this first brief.

The second brief was the major project of the semester, looking at the programming and design of the entire Colac quarry site. The initial stages were master planning, broadly arranging programs and starting to define the architectural gestures. This eventually moved onto the more involved process of optimising and resolving the shell itself.

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The acoustic shell which is the focus of the design was located in the bottom of the quarried out landscape is optemised for 2000 seated guests and a further 10,000 on a sloped grassed area. The shell shows its structure, thick and heavy glulam beams, the same as are used across the site in the school and accommodation buildings, which is clad in plywood and translucent polycarbonate. During performances and when the sun is out, the shell will glow with light.

ESD forms a focus of the site, in the rehabilitation of the quarry plantation has occurred throughout.

In the built for, minimal concrete used and structural framing celebrates engineered structural timber systems in Glulam as well as rammed earth.

The site is generally arranged around three sets of concentric circles; these epicentres represent ‘waves’. Acoustics depend on waves to transmit sound and this is correlated to the water bodies of the site which also generate waves.

The epicentres of the wave sets sit at the centroids of the water bodies and the centre of the stage, the points at which waves emanate on the site. The diagram of the waves defines the overall geometry of the site and in particular.

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Tangentially, the site is also governed by the idea of viewership — four modes of viewer occur across the site and are linked to occupation and function. These modes are; the audience, the learner, the way finder and the aligner.

The views exist as vectors, lines of sight which reference tangents or perpendicular lines drawn from points on the concentric waves creating an interconnected overarching order.

Thematically, the scheme deals with the somewhat competing yet inherently interrelated ideas of acoustics and vision, the relationship between the performer and the viewer, which in some circumstances is a viewer and a landscape or an architectural object. These ideas are inspired somewhat by the work of Elizabeth Diller in her firm DS+R. Their work commonly examines viewership, the way in which occupants are positioned in a space or landscape with a visa or frame in front of them. This is matched with schemes such as Bernard Tschumi’s Parc de la Villette which uses a broad gestural geometric order to start defining the architectural treatment of a large scale site.

Epicentre Three The instillation in the lake, as it lands everything ripples outwards from it, it crosses the two programs

introduction

Epicentre One The lake; a boulder dropped in the middle the birds fly, the water splashes onto the steep banks

Epicentre Two The concert; the crecendo is reached, the crowd rise, their voices join in with their clapping and admiration. The conductor turns and bows.

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brief one investigations into acoustics

GOLDEN SPIR

6

RAL

CURVILINEAR

ANGLED FOLDING INTERPOLATION

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ITERATION 15 1:5 DRAWINGS @A3

50

150mm

500 177 171 106 220

The first brief involved producing iterative model, digital and physical, to amplify the sound from a smartphone speaker.

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42

160

brief one LISTENER

The outcome of this task was to familiarise oneself with acoustic properties of geometries that could become shell structures, in a way making the design process later on more intuitive 9

STAGE 1_ ITERATIVE PHYSICAL MODEL GEOMETRIES

PERSPECTIVE

SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY

PLAN

ELEVATION ITERATION # OBSERVATIONS: _ General move from sculptural objects to more focus on the acoustics _ Learning from each previous iteration and moving to designs that trap and then amplify the sounds

02.

06.

04.

08_1.

08_2.

OBSERVATIONS: _ Curve shape with openings on top and side _ Small amplification and interesting reverb and direction _ Soften the harshness of S03 and the melody of S01 smoother towards the end of the sample.

OBSERVATIONS: _ Sleek shape with much more amplification when phone placed underneath the canopy, sound reproduction reasonably similar. _ Beat of S03 crisper and the orchestra of S01 had greater clarity.

OBSERVATIONS: _ Minor amplification, visual interest. _ Overall high clarity of sound amongst the samples, S02 sounded the most different with noticeable clarity in the vocals.

OBSERVATIONS: _ Potential to be expanded and turned into a full shaped cylinder. _ Minimal amplification in this iteration _ Reflections seemed to maintain the clarity of the samples and the beat of S03 was well reproduced.

OBSERVATIONS: _ Same as previous by horizontal _ With the phone paced in the centre there is amplification in the two directions. _ Overall the vocals of each sample were smoothed out, the beat of S03 was amplified as was the piano of S02.

EFFECT AND ECHO

EFFECT AND ECHO

VISUAL INTEREST

REFLECTION

AMPLIFICATION

AMPLIFICATION

VOCALS ACCOMPANIMENT BEAT

CLARITY ECHO

SOFTNESS

BROAD CATEGORY

MODEL ITERATIONS_ Physical models were tested qualitatively against a scale of amplification and clarity 10

brief one 07.

10.

11.

13.

14.

15.

16.

OBSERVATIONS: _ Simple geometry _ Minimal amplification _ Very noticeable softening of the samples, S02 sounded especially relaxing in this geometry and the quieter beginning to S01 was very muffled.

OBSERVATIONS: _ Most effective amplification of sound, totally envelopes the phone. _ Interesting to look at perforations and more enclosing of the phone. _ Samples all performed equally with the most noticeable being overall amplification.

OBSERVATIONS: _ Quite effective amplification, very simple geometry.

Phone placed right at the base of the curve to reach the maximum amplification. _ The clarity of the vocals in both S02 and S03 was increased, as was the crispness of the heavy drum beats in S03.

OBSERVATIONS: _ Inspiration from speaker designs, and Google Home etc. _ Noticeable affects on amplification _ Smothering brought an interesting reverb to the guitar in S03 as well as the operatic vocals in S01.

OBSERVATIONS: _ Overlapping angled geometry with three openings. _ Less effect on amplification but some interesting bass elements. _ Vocals seemed to be highly amplified in this iteration with the punchiness of S03’s vocals very noticeable.

OBSERVATIONS: _ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.

OBSERVATIONS: _ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.

OMNI-DIRECTION

FOCUSING

AMPLIFICATION

AMPLIFICATION

FOCUSING

OMNI-DIRECTION

AMPLIFICATION

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WATER TESTING_ Waves propagate in the medium of water, such it is a good analogue for testing how sound waves will behave in a sectional diagram model.

These testes were also interesting as they became an element of the conceptual framework for the project — the waves of water and sound being correlated. From these tests it was interesting to observe how the waves interacted with one another which is not present in the grasshopper analysis.

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brief one STAGE 1_2 SELECT SECTIONAL WATER TESTING

OBSERVATIONS: _ More amplification will result from models that demonstrate waves bouncing multiple times. _ Looking at how the sound source is obscured as well as how the waves exit the geometry.

13.

15.

16.

21.

23.

OBSERVATIONS: _ Waves intersect minimally, sound radiates outwards and is only channeled by the side flags. _ Very clean waves visible.

OBSERVATIONS: _ Sound moves from lower areas up _ Large number of intersections _ Waves reflect significantly off the ground surface.

OBSERVATIONS: _ Waves held within the geometry, allowed to bounce off internal walls creating an echo chamber of sorts _ Waves become entangled and influence each other — what would this result in air not water?

OBSERVATIONS: _ Waves follow along the curved edges, waves don’t intersect as much because they are following a path _ Less reflection that with a planar surface, or maybe that the waves lose their clarity on the curved surface.

OBSERVATIONS: _ Angled edges bounce the waves more than the previous _ Waves have more interactions, some are held in the tighter area of the spiral.

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QUALITATIVE ANALYSIS_ Before beginning to digitally analyse the geometries, the physical models were tested thorugh sound tests with a selection of msuic samples. This qualitative means of understanding the acoustic properties was measured on a matrix (opposite) and tracked its effects on the music’s proprieties.

14

500

brief one

THE MATRIX_ The matrix looked to locate the different geometries and categorise them broadly into five groups. The desired result was to achieve a balance of amplification and echo to reduce the tinniness of the phone speakers.

STAGE 2_ CATEGORISING

AMPLIFICATION

DESIRED RESULT VOCALS ACCOMPANIMENT BEAT

ECHO

CLARITY

EFFECT AND ECHO

REFLECTION

AMPLIFICATION

LISTENER OMNI-DIRECTION

FOCUSING

SOFTNESS

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INTENSITY

-- , -- ~ ~ ~ ~^ ~ ~~ ~ / , ~

, > , ~ ~ ~~ `` .....

.

WAVEFORM

STAGE 2_ CATEGORISING ATMOSPHERE

LYRICAL LACRIMOSA

ACCOMPANYMENT PUNCTUATION

~~~

~~ {

‘;

. .}{ ‘;

-

{

,} ~ ~ ~ ~ ~

‘;

. .} { ‘;

-

,} ~~~~~

. * [ “ , . { ” ’ ; } ( ‘ ; . . “ ,’ } ... ; } ^ ~ ~ }~ ~

ATMOSPHERE

CITY OF STARS

PUNCTUATION

& &&

º ¿¿ & >> • º• • ••• •O // & // & ¿ º •º

¿¿ & &&& °•

/ / ///

&°

•

&&

°• & ! ! ! ! !°• ! ! ! ! !°•

&

&

! ! ! ! !°

•

! ! ! ! !° ! ! ! !

•

BROAD CATEGORIES AND THEIR EFFECTS ON THE SAMPLES

EFFECT AND ECHO

BLACK BETTY

REFLECTION

AMPLIFICATION

OMNI-DIRECTION

FOCUSING

THE MUSIC SAMPLES_ The qualitative analysis was made using three tracks of different styles. A series of diagrams was made to understand the nature of the tracks and then the effects of the geometries on these facets of the music was noted for each iteration.

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0

+10

ATMOSPHERE

+20

VOCALS

+30

ACCOMPANIMENT

brief one

AGE 3_ TENTION AND AIMS R THE DESIGN

SOURCE OPEN

SOURCE OBSCURED

CLARITY

MOVING FORWARD DESIGN THAT LOOKS TO_

FROM THE INITIAL QUALITATIVE ANALYSIS IT WAS SET OUT THAT THE DIGITAL ANALYSIS WOULD LOOK TO MAKE A BALANCE BETWEEN...

ECHO

1. AMPLIFY AND FOCUS THE SOUND FROM THE SMARTPHONE TO A SINGLE USER

1. Amplification user

towards a single

2. SOFTEN THE PERCEIVED SOUND THROUGH OBSCURING THE DIRECT SOUND SOURCE

2. A softening of the percived sound through obscuring the sound source.

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STAGE 3_ INTENTION A FOR THE DES

NOITALOPRETNI GNIDLOF DELGNA

The golden spiral was chosen as a basis to explore more measured designs produced inside of Rhino. The spiral matched well with the intentions set out at the end of the qualitative analysis.

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NOITALROAPERNEITLNIIVRGUN

brief one

AND AIMS SIGN

ANALYSIS WITH 20 RAYS _ ONLY 3 REFLECTIONS _ 2 SOUND SOURCES

DLOF DELGNA

LARIPS NE RD AL EO NG ILIVRUC

THE GOLDEN SPIRAL

LARIPS NEDLOG

_ SIMILARITIES TO SECTIONS OF SOME OF THE PHYSICAL MODELS

_ ACHIEVES THE INTENTIONS SET OUT FROM THE ITERATIVE MODELS

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ACOUSTIC ANALYSIS_ A number of digital modeled geometries, some based off the physical models, were tested using Pachyderm plug-in in rhino. The resulting analysis was primarily an audience surface with a heat map of the distribution and spread of sound pressure levels (SPL, measured in dB).

STAGEFrom 4_ this sort of analysis it could be seen ANALYSIS AND how much amplification was achieved and how the evenness of REFINEMENT the sound across the audience would be. The intention for this task was set out for directioned sound to a single user but for the final shell BASE CONDITIONS. a more even distribution would be TESTING AND DIAGRAMS TO BE COMPARED BACK TO THESE desired.

CONDITIONS FOR SOUND PRESSURE DISTRIBUTION WITH NO REFLECTIONS FROM SHELL SURFACES

ITERATION 16.

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

GEOMETRY

500

LISTENER

105 115

RAYTRACING OMNI-DIRECTIONAL TESTS

FOCUSED TESTS

105

240

SOUND PRESSURE LEVELS NOTES: _ The following tests were conducted in Grasshopper using the Pachyderm plug-in. _ Settings were for a gradient between 80 and 110 dB sound pressure levels at a 100 Htz. 80

110 GRADIENT SCALE

20

OBSERVATIONS: _ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.

OBSERVATIONS: _ Less consistent sound around the mode. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.

brief one ITERATION 15.

ITERATION 19.

ITERATION 15_2 1:5 DRAWINGS @A3

50

ITERATION 20.

ITERATION 19

ITERATION 20

1:7.5 DRAWINGS @A3

1:5 DRAWINGS @A3

ITERATION 21.

ITERATION 21 1:10 DRAWINGS @A3

20

150mm

200mm

50

150mm 25

500

75mm

LISTENER 500

LISTENER

500

LISTENER

500

500

LISTENER

230

451

177

630

161

222

171

228

42

160 106 220

OBSERVATIONS: _ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.

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451160

160

172

190 171

230

140

OBSERVATIONS: _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.

106

OBSERVATIONS: _ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.

OBSERVATIONS: _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.

OBSERVATIONS: _ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.

OBSERVATIONS: _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.

375

OBSERVATIONS: _ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.

21

ITERATION 22.

ITERATION 23.

ITERATION 21

ITERATION 23

1:10 DRAWINGS @A3

1:10 DRAWINGS @A3

25

75mm

25

500

75mm

LISTENER

500

630

630

22

OBSERVATIONS: _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience,

228

228

240

OBSERVATIONS: _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.

LISTENER

375

OBSERVATIONS: _ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.

240

OBSERVATIONS: _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.

OBSERVATIONS: _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.

375

OBSERVATIONS: _ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.

OBSERVATIONS: _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.

brief one SOUND SOURCE

ITERATION 19 POSITION 1

960 850

332

ITERATION 23 POSITION 3

800 375

650

RAYS_ 30 BOUNCES_ 10

23

SOUND SOURCE PT

SHELL GEOMETRY

AUDIENCE SURFACE

BASE STAGE

GRASSHOPPER ANALYSIS_ Using Pachyderm to understand the acoustics primarily looked at the SPL as well as the rays of sound, calculated through raytracing, and their interaction with the audience surface. Above left, shows the animation of points of sound moving out from a sound source in the shell and colliding with a surface, be it the shell itself or the audience plane.

From this it can be infered how the sound moves and bounces within the shell and then is reflected into the audience.

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brief one

TRANSLATION VECTOR

MULTI SOUND SOURCES

GEODESIC SOURCE

REFLECTION ORDER

REVERBERATION TIME

DIRECT SOUND SOURCE

ENERGY TIME CURVE SUBDIVIDE SRF TO POINTS

STATIONARY RECEIVER

NO OF RAYS

IMAGE SOURCE

SOUND PRESSURE LEVELS

Surface with gradient of SPLs

RAY TRACING

CUSTOM PREVIEW

SHELL ON POLYGON SCENE SHELL OFF

STANDARD GRADIENT STANDARD DEVIATION

SPHERE

STANDARD GRADIENT

VECTOR 2 POINT RAY DIRECTIONS

VISUALIZE PACH RAYS

CUSTOM PREVIEW EVALUATE LENGTH

LENGTH

Visualises rays as end points with colour code of time

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STAGE 5_ FABRICATION OF DIGITAL FORMS

PERSPECTIVE

SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY

PLAN

ELEVATION ITERATION # OBSERVATIONS: _ Increase in scale from the iterative models, perhaps giving an overall echo because each sound now spends longer reverberating inside the model. _ Moving around creates noticeable drop offs in sound amplification as per GH.

21.

23.

OBSERVATIONS: _ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.

OBSERVATIONS: _ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

DESIRED RESULT_

AMPLIFICATION

VOCALS ACCOMPANIMENT BEAT

CLARITY ECHO

SOFTNESS

BROAD CATEGORY

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FOCUSING

AMPLIFICATION

EFFECT & ECHO

CLOSEST TEST TO THE PARAMETERS FOR THE INTENTION

brief one

The ‘optimal geometry’ chosen at the end of the task. In the final project you can see how the acoustic shell takes inspiration from the upper part of this geometry, with the curved roof and the angeling of the sides to focus the sound.

ION 21

AWINGS @A3

75mm

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brief two part one; the quarry and the scheme

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29

Existing site amenities and mineral storage

Gentler slopes Steep cliff faces

Contemporary extraction area with valleys at a depth of ~12m

Islands left from unexcavated land from previous dig

B.

A. Water bodies, depth of ~14m

Aprox. water areas_ A. 14,600m² B. 121,000m² C. 11,700m²

C.

Total_ 147,3000m²

Existing entry point

Aprox. area_ 800,000m²

The site

Existing condition 1:10,000 @ A3

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brief two TRANSPORTATION ROUTES FROM MELBOURNE CBD TO COLAC, THE CLOSEST RURAL TOWN TO THE SITE.

MELBOURNE

LAKE COLAC

AS THE CROW FLIES APROX. 128KM

GEELONG

COLAC THE SITE FREEWAY THROUGH GEELONG APROX. 1HR 55MINS

COLAC V-LINE SERVICE TO WARRNAMBOOL APROX. 2HR 04MINS LOCAL AMENITIES INCLUDE SUPERMARKETS, HEALTH CLINIC, POLICE STATION.

The site is a quarry near Colac in regional Victoria, about 2 hours from Melbourne.

The site is still in use and due to Covid-19 restriction could not be visited.

The site model was constructed from aerial imagery and some source photos provided by the quarry.

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MUSIC SCHOOL_ PROVIDING A FULL COMPLEMENT OF MUSIC FACILITIES IDEAL FOR RETREATS AND CAMPS AS WELL AS SERVICING ANY LOCAL STUDENTS AND COMMUNITY MUSIC EVENS FROM THE LOCAL TOWNS SET UP TO TAKE WEEK-LONG VISITS FROM GROUPS OF MUSICIANS, FROM PROFESSIONAL TO SCHOOL ENSEMBLES OR ORCHESTRAS AMENITIES AND ACCOMMODATION TO BE FULL SELF-SUFFICIENT DURING ONE OF THESE CAMPS _ INCLUDING DINING, SLEEPING AND BATHING FULL TIME STAFF TO RUN THE CENTRE _ MANAGEMENT, RECEPTION _ MUSIC TEACHER IN RESIDENCE PROGRAM

FESTIVAL SITE_ FULL FESTIVAL SITE INCLUDING THE MAIN ACOUSTIC SHELL FOR PERFORMANCES AS WELL AS A SECONDARY STAGE AREA PERFORMERS CAN BE HOUSED AND CATERED FOR IN THE FACILITIES FOR THE MUSIC SCHOOL DURING THE RUNNING OF FESTIVALS ENTERTAINMENT ZONES _ INCLUDING CATERING AND FOOD _ AMUSEMENT ACTIVITIES, BY CUB-CONTRACTION _ SPONSORSHIP AND VIP AREAS _ GENERAL MINGLING AND RELAXATION SPACES ACCOMPANYING CAMPING SITE _ WITH APPROPRIATE AMENITIES FOR VISITORS TO STAY FOR FESTIVALS OF 3-4 DAYS DURATION _ INCLUDING DINING AREAS _ AS WELL AS THE NORMAL TOILETS AND BATHING FIRST AID STATIONS AS WELL AS TICKETING BOOTHS AND CROWD CONTROL THE FESTIVAL ARRANGED AS A PRICING WITH PATHS AND WAY-FINDING THROUGH THE RE-VEGETATED AREAS OF THE SITE DOWN TO THE ENTERTAINMENT AND DINING AREAS AND THEN ONTO THE PERFORMANCE SPACES FESTIVAL GOERS MOSTLY SEPARATED FROM THE MUSIC SCHOOL, PERFORMERS, TECHNICIANS AND ORGANISERS FACILITIES OVERLAP AND MAKE USE OF THE MUSIC SCHOOL AND ACCOMMODATION SPACES.

THE BRIEF_ 32

MUSIC SCHOOL_ RECEPTION ATRIUM OFFICES

PUBLIC

PRACTICE ROOMS

SEMI-PUBLIC

SMALL AUDITORIUM RECITAL ROOM ACCOMPANYING BACKSTAGE

brief two

AP AND G

SPATIAL/ARCHITECTURAL REQUIREMENTS

PRIVATE

DANCE STUDIO DRAMA STUDIO COMPUTER LABS VIDEO STUDIO

HIGH SOLAR ACCESS

STORAGE

CAN BE DARKER SPACE

MEETING ROOMS CONFERENCE STYLE ROOM KICTHENETTE & EATING

BLACKOUT

EXTERNAL SPACES AMENITIES

QUIETER SPACE

FESTIVAL SITE_ DINING_ LISCENCED VENUES SIT-DOWN DINING TAKE-AWAY DINING FOOD TRUCK BAYS OUTDOOR EATING LANDSCAPE

ACOUSTIC TREATMENT

ATTRACTIONS_ SPONSORS BOOTHS CARNIVAL STYLE ATTRACTIONS

ACCSS TO VIEWS

AMENITIES_ BATHROOMS WATER STATIONS FIRST-AID

COVERED

AUDIENCE_ TICKETING AND CROWD MANAGEMENT

OPEN-AIR

STAGE_ IMMEDIATE BACKSTAGE PERFORMERS AREA

INDOOR

SPATIAL REQUIREMENTS_

OVERLAP AND MIXING_

Diagramming out relationships between aspects of the program and drawing connections between the spatial requirements of the festival program and the school.

PROGRAM_

LOADING AREA SET AND PROP STORAGE

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MUSIC RETREAT AND SCHOOL

CAMPING FACILITIES

CAMPING SITE

CENTRE AMENITIES AND ACCOMODATIONS

MAIN SITE ENTRY

REAR SITE ENTRANCE

DINING, AMENITIES, SPONSORS TENTS

SECOND STAGE

SITE ARRANGEMENT [NOT TO SCALE]

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FESTIVAL EVENTS AREA MAIN STAGE

AUDIENCE

brief two SCHOOL PROGRAM_

DELIVERIES

Performance WORKSHOP

Visual arts

TECH AND CREW GREEN ROOM

AUDITORIUM

CHANGE ROOMS

SOUNDSTAGE

BACKSTAGE FOYER

ENSEMBLE ROOMS

FACILITIES

VIEWS TO THE LAKE

ENTRY

Front of House

AMENITIES

STAFF OFFICES

STUDIOS

BREAKOUT SPACE

RECEPTION

The corridor

CONFRENCE PRACTICE ROOMS

LINK BACK TO ACCOMMODATION

Outdoor space

PROGRAM_ The programmatic arrangement of the site was based of splitting into the precincts of the school and the festival site as well as the comping and accommodation, these were considered radially and with interrelationships as necessary for shared facilities 35

The site plan, moving from blocking and programmatic arrangements to the final iteration.

36

brief two RATTRAYS RD

MUSIC SCHOOL AND FESTIVAL SITE INITIAL BLOCK AND FUNCTIONAL RELATIONSHIPS

SITE ENTRY

POTTERS RD

ONDIT-WARRION RD

CAMPING AMENITIES

CAMPING SITE MUSIC SCHOOL

ACCOMODATION AND SCHOOL AMENITIES

SECOND STAGE

BACKSTAGE, TECH AND PERFORMER

MAIN STAGE

RE-VEGITATION

SITE PLAN 1:1000 @

A0

10 20

50M

37

Epicentre One The lake; a boulder dropped in the middle the birds fly, the water splashes onto the steep banks

Epicentre Three The instillation in the lake, as it lands everything ripples outwards from it, it crosses the two programs

Epicentre Two The concert; the crecendo is reached, the crowd rise, their voices join in with their clapping and admiration. The conductor turns and bows.

1:10000 @A3

38

0

10

20

50m

brief two ART WAVES_ Motif of two sets of intersecting waves, symbolic of sound waves and water waves, emanating from the water bodies and the acoustic shell, to define the overall master planning gestures.

39

Evolution of the impacts of the wave geometry on the school building’s form, to the interim plan which shows just the ordering principals.

40

41

brief two

PRECEDENT_ The Ian Potter Southbank Centre / John Wardle Architects Southbank, Melbourne (2019)

LINK: https://www.archdaily.com/935526/the-ian-potter-southbank-centre-john-wardle-architects?ad_medium=office_landing&ad_name=article 42

brief two PRECEDENT_ Slow House / Diller Scofidio + Renfro Long Island, USA (1993)

SLOW HOUSE was influential in two main aspects_ Firstly the use of a radial arrangement that defines the overall form of the house, referencing back to a central point of an arc.

But also it focuses on a vector that is tangential to that arc, a view out over the ocean.

The house is designed around view, or viewership and how that is pulled along a curve. The model for the house is split up into planes of sections, or views, that the occupant moves through.

One of the designers, Elizabeth Diller, as an aspiring filmmaker in her youth, was interested in the relationship between view and viewer in the deisgn of this house.

The dual motif of the waves and views that present in the final design are informed somewhat by the investigations into this deisgn.

LINK: https://dsrny.com/project/slow-house

43

brief two part two; acoustic optimisation

44

45

46

SOUND SOURCE

ITERATION 19 POSITION 1

960 332

850

sound source

ITERATION 23 POSITION 3

800 375

650 The shell took its inspiration from the learning from the first assignment, specifically how the golden spiral geometry focused the sound down onto an audience surface.

An arc was chosen as the base shape for the shell, again to focus and channel the sound leaving the shell.

47

GEOMETRY GENERATION_ 48

brief two

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

STAGE CONTROL POINT

ARC DOOR OPENING HEIGHT NO OF SEGMENTS

ANGLE OF ROTATION

ROTATE 3D

ANGLE OF ROTATION

DIVIDE

SECOND PT ROTATE 3D

HEIGHT OF BACK

EXPLODE TREE

PENULTIMATE PT ALL OTHER PTs

MERGE TREE

NURBS CURVE

START PT

DIVIDE SHELL REACH DIVISION NO

START TANGENT - z axis

MOVE ORIGINAL PT

END PT

SHELL HEIGHT SHELL INCLINE

PARAMETRIC MODEL_ The definition of the shell is parametric so that it can be altered iteratively to generate variants for analysis in Pachyderm.

VECTOR

MOVE

VECTOR 2PT

BEZIER SPAN

END TANGENT

LOFT

MIRROR

49

SPL AVERAGE

2

3

5

1

STANDARD DEVIATION SOURCE 2

STANDARD DEVIATION SOURCE 1

4

6

Octopus outcomes graphed in three dimensions, an additional parameter was added upon the standard deviation of SPLs, the average, to make sure the outcome was also trying to achieve peak amplification as well as spread over the audience.

50

brief two PACHYDERM ANALYSIS

STANDARD DEVIATION SPL AVERAGE SPL

OBJECTIVES

PARAMETRIC MODEL

OCTOPUS

OCTOPUS SCRIPT_ Grasshopper definition that links in the pachyderm analysis and the parametric model to the octopus analysis.

SHELL INCLINE

SHELL HEIGHT

PARAMETERS

SHELL REACH

HEIGHT OF BACK

DOOR OPENING HEIGHT

CONTROL NUMBERS

Octopus uses the parametric model to generate iterations which are then tested and graphed against the objectives which in this case are the SPL average and Standard deviation.

51

ITERATION 01_

ITERATION 02_

ITERATION 03_

ITERATION 04_

SUCCESSFUL OUTCOME

HEIGHT OF BACK OF SHELL

HEIGHT OF BACK OF SHELL

HEIGHT OF BACK OF SHELL

HEIGHT OF BACK OF SHELL

DOOR OPENING HEIGHT

DOOR OPENING HEIGHT

DOOR OPENING HEIGHT

DOOR OPENING HEIGHT

SHELL HEIGHT

SHELL HEIGHT

SHELL HEIGHT

SHELL HEIGHT

SHELL REACH

SHELL REACH

SHELL REACH

SHELL REACH

SHELL INCLINE

SHELL INCLINE

SHELL INCLINE

SHELL INCLINE

52

brief two

ITERATION 06_

SPL AVERAGE

ITERATION 05_

2

3

5

1

STANDARD DEVIATION SOURCE 2

STANDARD DEVIATION SOURCE 1

4

6

HEIGHT OF BACK OF SHELL

HEIGHT OF BACK OF SHELL

DOOR OPENING HEIGHT

DOOR OPENING HEIGHT

SHELL HEIGHT

SHELL HEIGHT

SHELL REACH

SHELL REACH

SHELL INCLINE

SHELL INCLINE

Using Octopus to generate forms, the Pachyderm analysis looked again, as with brief one, at the SPL across the audience. The analysis looks to get an even distribution of the sound across the audience as well as a decent level of amplification.

53

ITERATION 01_

RAYTRACING

PLAN VIEW, SPL GRAPH

54

RAY TERMINATION POINTS

SOUND SOURCE 02_

SOUND SOURCE 01_

brief two HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB

Acoustic analysis of the selected geometry which became the final shell. This iteration was chosen because of its even spread across the audience surface as well as significant amplification. The shape also was desirable over other iterations, with a shallow arc and reach over the audience.

55

EVOLUTION OF THE SHELL_ The shell was initially a singular object, but this evolved to a dual shell, where th inner was acoustically optemised and the outer acting as cover for the front rows of the audience as well as housing the backstage.

56

57

‘Lath’ structure with a ‘membrane’ between, curved shape in two axes

TRANSLUCENCY_ With the shell now separated the motif of a leaf in light was used to define the tectonics — the outer shell and internal seam between the acoustic and outer shells would be clad in polycarbonate to let light permeate through as well as revealing the structure.

58

Light interactions vein structure show

with the leaf’s skin, translucent and not entirely opaque, wing through

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PRECEDENT_ Centre Pompidou-Metz / Shigeru Ban France (2010)

LINK: https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects 60

Structure is exposed and laid bare when the translucent cladding is illuminated_ Firstly at night when the light is emanating from the internal spaces But also during the day the light illuminates the internal spaces 61

brief two part three; ref inement of program and site

62

63

111° 98°

90°

The sight-lines almost exist as a consequence of the waves, moving tangentially out from or directing focus inwards to.

The overall implementation of the idea of viewership moved into section as well, in how the site is occupied, and into the programming and arrangemnets.

64

Festival

0°

Epicentre

The School of Art

VIEWERSHIP_ As well as the governing order of the waves intersecting, the viewership element was increased in the final iterations of the project — including for example in the school building, inspired by DS+R’s Centre for the Creative Arts at Brown University.

brief two

Performer

Audio

Spectator

Visual

MODES OF VIEWERSHIP_ How views are deployed across the site was broken down into four sectional relationships either between people or between the land and a single occupant/person.

65

MURCUTT’S ORIGINAL SKETCHING SHOWING THE ROOFLINE

PRECEDENT_ Magney House / Glenn Murcutt Bingie Point (1983)

LINK: https://architectureau.com/articles/magney-house-bingie-bingie-198284/ 66

brief two PRECEDENT_ Nest We Grow / Kengo Kuma Takinoue, Japan (2014)

LINK: https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-and-associates 67

PRECEDENT_ Centre for the Creative Arts / Diller Scofidio & Renfo Brown Univeristy, United States (2011)

School Building, reworking the sectional relationships between spaces either side of the central corridor, encourage interactions between those in the spaces and those moving through the building

LINK: https://dsrny.com/project/the-perry-and-marty-granoff-center-for-the-creative-arts 68

brief two PRECEDENT_ Tamedia Office Building / Zurich, Switzerland (2013)

Shigeru Ban Architects

LINK: https://www.archdaily.com/478633/tamedia-office-building-shigeru-ban-architects 69

New Wood Construction, ‘Detail’ (2014, no.2)

MATERIAL SYSTEMS_ With an ESD focus the site will make use of timber framing, specifically glulam structural members. As well, rammed earth will be used, with added connection to the site’s previous use as a quarry.

70

brief two Downton, Paul, Rammed Earth, ‘Your Home’ (2013) https://www.yourhome.gov.au/materials/rammed-earth

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72

Detail Plan of the Acoustic Shell

brief two

Outer shell, polycarbonate cladding

1:100 @A0

Timber battening to sladding above, cruved to follow the shapre of the shell

Skin between two shells, polycarbonate cladding translucent with lighting system behind for night time light shows

Acousticly optemished shell, plywood internal skin supported by a lattice of battens behind

North south structural members linked into a continuous beam and column that links the inner and outer shell as well as the overhang Manufactured in thick glulam

Exploded Isometric of Structural System and Enclosure NOT TO SCALE

art waves

Section C-C ; School Building East-West

Studio 30 / Resonate Jeremy Bonwick / 697718

1:100 @A0

0

art waves

Acoustic Shell Section A-A

Studio 30 / Resonate Jeremy Bonwick / 697718

1:100 @A0

0

1

2

1

2

5m

5m

THE SHELL_ Refinement of the shell focused, apart from the acoustic optimization, focused on the relationship between the audience and the pavilions, their weight in the composition and the entry sequence 73

LIGHTING_ Qualities of lighting were best to be shown in the rendering. A night render was chosen for the main shell to show off the use of coloured lighting behind the translucent skin as well as the vibrancy created by the stage lighting.

74

brief two OPACITY_ Use of polycarbonate cladding on the outer shell and connecting surface to allow a soft light to diffuse and a glow to emanate, the structure is revealed behind, but only as a ghostly vestige.

STAGE LIGHTS_ Large format spotlights will be suspended from a rig from the outer shell with the capacity for 30 lights to be rigged as necessary, with controls run up and back to the control room.

WAY-FINDING_ Lighting will also be used to illuminate paths along the site, specifically the radial and wave paths, which further emphasizes the relevance of the geometrical order on the site.

IMAGES_ (L-R)

RESEARCH_ Into stage lighting and around the site. A large part of the lighting design though was the translucency of the material used to use natural light and defuse the artificial lights.

Herzog & de Meuron, Laban Dance Centre, London, 2003. [www.dezeen.com/2016/12/11/herzog-de-meuron-laban-dancecentre-new-photographs-jim-stephenson/] Stage Lighting for Students, Jeffrey E. Salzberg et al. [www.stagelightingprimer.com/index.html?slfs-fixtures. html&2] Veneto Lighting system [favaro1.com/it/lampade-led-peresterni/veneto-light/]

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brief two LIGHTING THE STAGE_ Creating atmosphere was important with its design considerations, the atmosphere can be created through the ring of light around the stage behind the translucent cladding, turning it blood red for example. The lights concealed in the stage also give opportunity for lighting the subject from underneath, which could be dramatic when lit from the sides and below only, with no other stage lights, a method of Down Lighting.

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78

brief two SITE WAY-FINDING_ Lighting is used across the site as a way-finding device. Given that performances are likely to run into the night it is important, for safety and ease of movement through the site amongst other things, to consider how people know which direction to move. The shell is a glowing beacon in the quarry area which attracts people to the correct direction to move, also the paths are lit on the edges with a glow. The overall effect is to also heighten the presence of the overall geometry on the site, the circular planning is picked out and accentuated, as is the installation in the centre of the lake.

79

reflection

80

This studio has been distinctly different from my previous, in fact almost polar opposite. Whilst last semester I was dealing with a 12m squared residential renovation, this semester as been concerned with the master planning of a site 800m on one side and almost a kilometer on the other. The sheer scale has been something of a challenge to grapple with, looking a drawing of a site so big it is easily forgotten how the inhabitation of such a site would be, when a line you draw is as thick as a terrace house. The relationships become very important for something so big, bringing things together even though they sit hundreds of metres apart, almost out of sigh. This is why very early on the overarching geometry was settled upon. This order, the waves of the project is inherently arbitrary, but has been something which has remained constant since quite early, despite some criticisms and questioning. During the midsemester crit Paul Loh called it very twentieth century, which is an interesting claim to level — almost insultingly it sounds out of date, but what it really meant was that the order seemed to sit in a universal space, something almost removed from the human experience.

A Le Corbusier house sought to find the universal, an enlightenment, post-industrial mode of thought which says that order is something constructed. I think these ideas

reflection still have a lot of validity, and considering architecture in these ways should not be shoe boxed as ‘twentieth century’. Regardless, the order has remained but has been massaged more and more into the individual buildings on the site.

The acoustic shell has seen the most evolution, the challenge there was obviously in coming to grips with the technicalities of the acoustic optimisation. I’ve said elsewhere in this journal that first task was great for getting a hands on feel for the properties of sound, and certainly this was felt by the end of the semester when the acoustic properties where becoming more and more intrinsic and intuitive.

Choices become easier when you’ve bent a piece of paper and heard Black Betty’s driving beat amplified as happened in the initial model iterating process. The optimization in Grashopper tested the computer and the brain, but there was something quite satisfying about comparing the gradients of the surfaces scattered with SPL levels and then using this to make design choices.

The school building, through many moments throughout the semester, became a safe haven. Something about planning at 1:100 spaces for occupation really appeals — and the school was no different. The program was laid out quite early on

and the evolutions came when the section was considered more closely, specifically implementing the idea of ‘learning through observation’.

A simple idea but lead to a interesting exploration of levels and floor plate interrelationships.

The school also allowed for an exploration in structure using timber, specifically engineered timber like Glulam or CLT. This has been something I wanted to explore for a while now, and this seemed an appropriate scheme to deploy this on given the background idea of revitalization in the quarry context — it seems right that a design here should be particularly ESD focused, not that all buildings shouldn’t be, as it tries to breath life back into a landscape. There is something also very satisfying about thick columns with presence in a space and its a material and structural system I will continue to consider going forwards.

powerful moving forward, and quite focused. The struggle this semester has always been for me trying to inject some level of conceptualism into the project, detailing and tectonics that have a thematic resonance, and I think that is there in the finished scheme. But the more the semester has gone on the more the realization has dawned that the learnings and engagement here has been with something different, something more pragmatic and technical. In a way I have tried to embrace that as its a rare opportunity to design something so specific and so niche. This isn’t another housing project, a school, a public space. This is an acoustic shell, on a rural site in Victoria.

It is, or now was, very specific.

The biggest learning from the studio were undoubtedly the sensibilities towards the acoustic properties of as space — which in a way supersede the technical learning about Grasshopper analysis. The latter will be useful if ever conversing with an engineer, and definitely was a great insight and a testing challenge, but the aforementioned sensibility towards a surface or a space’s resonance, reverberation and amplification will be very

81

82

the drawings

83

84

85

the drawings

86

87

the drawings

88

89

the drawings

90

91

the drawings

92

93

the drawings

94

95

the drawings

96

97

the drawings

98

the appendix

99

Full set of Pachederm testing results as SPL graphs and heatmaps as well as raytracing.

100

the appendix

ITERATION 15_ Variant 01_ As per the physical model

ITERATION 15 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

177

SOURCE

171 106

42

220

160

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.

_ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 83 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.46

101

ITERATION 15_ Variant 02_ Canopy lengthened, same sound source position

ITERATION 15_2 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

177

SOURCE

171 106 220

42

160 140

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.

102

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.47

the appendix

ITERATION 16_ Variant 01_ Sound source centralised

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

105

SOURCE

115 105

240

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.

_ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 74 dB MAX_ 116 dB STANDARD DEVIATION_ 1.07 or 0.47

103

ITERATION 16_ Variant 02_ Sound source pushed to the right side, mimicking the bottom speaker on iPhone X

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

105

SOURCE

115 105

240

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Less consistent sound around the model. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.

104

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 68 dB MAX_ 114 dB STANDARD DEVIATION_ 1.09 or 0.47

the appendix

ITERATION 19_ Variant 01_ New version of iteration 16 with shell shape, source shunted to the back

ITERATION 19 1:7.5 DRAWINGS @A3

20

200mm

500

LISTENER

SOURCE 451 222 451

160

172

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Amplification quite significant _ Very high clarity, especially in S03 in the drum beats and high notes on the guitar, punchy vocals. _ Piano in S02 hits clean and lyrics very clear as well _ Amplification at the cost of any interesting acoustics.

_ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 91 dB MAX_ 103 dB STANDARD DEVIATION_ 0.94 or 0.42

105

ITERATION 19_ Variant 02_ Sound source towards the front, mimicking the front facing iPhone X speaker

ITERATION 19 1:7.5 DRAWINGS @A3

20

200mm

500

LISTENER

451

SOURCE

222 451

160

172

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.

106

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 102 dB STANDARD DEVIATION_ 0.97 or 0.44

the appendix

ITERATION 20_ Variant 01_ Sound source placed towards the back under the canopy

ITERATION 20 1:5 DRAWINGS @A3

50

150mm

500

SOURCE

LISTENER

230 161 106 230

190

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ No physical model produced for this geometry.

_ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 116 dB STANDARD DEVIATION_ 0.94 or 0.45

107

ITERATION 20_ Variant 02_ Sound source pushed into the front pouch

ITERATION 20 1:5 DRAWINGS @A3

50

150mm

SOURCE

500

LISTENER

230 161 106 230

190

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.

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110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 114 dB STANDARD DEVIATION_ 1.19 or 0.50

the appendix

ITERATION 21_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.

_ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 79 dB MAX_ 110 dB STANDARD DEVIATION_ 1.05 or 0.46

109

ITERATION 21_ Variant 02_ Spiral on its side, sound source placed in the base of spiral

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.

110

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 77 dB MAX_ 107 dB STANDARD DEVIATION_ 0.99 or 0.46

the appendix

ITERATION 21_ Variant 03_ Spiral placed vertically with sound source in its base

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.46

111

ITERATION 22_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

_ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.

112

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 108 dB STANDARD DEVIATION_ 0.92 or 0.44

the appendix

ITERATION 22_ Variant 02_ Spiral on its side, sound source placed in the base of spiral

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 109 dB STANDARD DEVIATION_ 0.99 or 0.45

113

ITERATION 22_ Variant 03_ Spiral placed vertically with sound source in its base

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.

114

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.43

the appendix

ITERATION 23_ Variant 01_ Spiral on its side, sound source placed in the base of spiral

ITERATION 23 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

_ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 107 dB STANDARD DEVIATION_ 1.02 or 0.46

115

ITERATION 23_ Variant 02_ Spiral placed vertically with sound source in its base

ITERATION 23 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.

116

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 105 dB STANDARD DEVIATION_ 0.97 or 0.44

117

the appendix

THE GOLDEN SPIRAL_ Investigations into the golden spiral as a suitable acoustic geometry began with sketch musing and then moved onto digital models in Rhino for Pachyderm testing.

118

the appendix _ Looking sectionally at the models and placing the sound source. Output to drawings with rays and the section.

_ The termination points of the rays as they reach their 10th reflection or hit the audience or stage surfaces.

_ Final rendering of the SPL gradient over the audience surface and using a sphere to also represent the ray termination points with colour relative to time.

119

_ Desmond Paul Henry (1963)

_ Labanotation (C. 1928)

_ Mark Applebaum (2011)

Striation and overlapping, layers of information, a sense of intensity in the overlaps

“Labanotation or Kinetography Laban is a notation system for recording and analyzing human movement” Wikipedia

An experimental system for notation of music in his work ‘The metaphysics of notation’.

VISUALISING THE SAMPLES_ A quetsion was how to visually represent the music samples and how to then use that as a diagram to show the effects of the design on the perception of the music?

120

the appendix

CITY OF STARS RYAN GOSLING, LA LA LAND 2016 MUSICAL, SOLO SINGER

0:47

1:17

0

+10

+20

+30

WAVEFORM INTENSITY

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

‘ ~~ { ; . .}{ ‘; ~ ~ ~

-

,} ~ ~ ~ ~ ~

{ ‘; . .} { ‘;

-

,} ~~~~~

. * [ “ , . ... { ” ’ ; } ( ‘ ; . . “ ,’ } ; } ^ ~ ~ }~ ~

121

BLACK BETTY RAM JAM 1977 HAVY ROCK

3:08

3:38

0

+10

+20

+30

INTENSITY WAVEFORM

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

122

& &&

º ¿¿ & >> •• º• • ••• •O // & // & ¿ º º

¿¿ & &&& °•

//

// /

&°

•

&&

°• & ! ! ! ! !°• ! ! ! ! !°•

&

! ! ! ! !° •

&

! ! ! ! !° ! ! ! !

•

the appendix

LACRIMOSA ZBIGNIEW PRESISNER 1998 OCHESTRAL, OPERATIC

1:36

0

2:06

+10

+20

+30

WAVEFORM

INTENSITY

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

-- , -- ~ ~ ~ ~^ ~ ~~ , ~

~ / —, > , ~ ~ ~~ `` ..... .

!! !!!! ! !! , # # # .. !!!!!!!! !

!!!! ^ ^ . !!!! !!!! !!!! !!! . !!!!! ! ! / ^ . ! ! . ! ! ..

123

RAW SOUND_

iPhone X Held 500mm, speakers facing towards the subject.

SAMPLE 01_ LACRIMOSA

SAMPLE 02_ CITY OF STARS

SAMPLE 03_ BLACK BETTY

OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_

Starts off slowly with the lyrics in a lower register. Strings are soft in the background. The mid toned organ comes in as the vocals increase in intensity.

The song sits in a mellow mid-tone, with the simple piano accompaniment sitting below the lyrics and an oboe coming into play towards the end of the sample.

There is a range of sounds in the sample, from the bass guitar to normal guitar and drum and symbol as well as the vocals. This creates a sense of dynamism and scale, each of the elements has their own distinct voice.

VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_

The vocals are on par with the accompaniment for the most part, the lyrics and operatic nature of the delivery blend the vocals almost beyond comprehension, the voice almost becomes another instrument in the orchestra.

The vocals hold the attention, they are clear and intelligible, there is a repeated line followed by a variant. The accompaniment supports the vocals.

The vocals are punchy and delivery in a very beat-like manner, very clear and falling in-line with the beats, the drum and cymbal hits fall under the lyrics. The guitar is given its own space outside the lyrics.

THE MELODY_

The melody is slow and selling, it is held by long string notes and drones from the organ. The melody goes up in pitch as the lyrics are repeated ending in the vocals in very high register.

The melody is built from a simple repetition of five notes on the piano, it follows the beat and sets the backing for the vocals.

The melody is subverted by solos from the various instruments, beginning with the guitar doing its own thing then the drummer going into a solo, it breaks the sample into segments.

PERCEPTION OF THE BEAT OR RHYTHM_

The sample features the pre-chorus element which builds to the crescendo of the chorus which is a basic repetition with slowly building tone.

The beat is only perceived as a consequence of the accompaniment, there is no beat held by drum or similar, just the tempo of the music, yet it is quite perceivable due to the repetition.

The beat is very strong as the drum holds it throughout and creates a contrast between the solo elements which individuate themselves from the beat and stricture of the song.

GENERAL ATMOSPHERES_

The general atmosphere is large scale, sweeping and almost religious because of the organ. The scale is built in the long drawn out notes and in the sweeping vocals.

There is a lightness and playfulness but also a heaviness to the song, the slowness holds onto notes and creates an almost hopseful atmosphere.

There is a busyness and a individuality to the song and its elements, almost as if everything is competing. The high tempo nature makes it run away from itself as the beat progresses.

124

the appendix ITERATION 13_ Conic shape, overlapping two simply folded surfaces, sound held within and projected from the top opening and seeping though the small side overlaps.

SAMPLE 01_ LACRIMOSA

SAMPLE 02_ CITY OF STARS

SAMPLE 03_ BLACK BETTY

OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_

The high notes of the operatic vocals have been brought down or at least muffled slightly.

There is a perceivable blending of the tones.

_

VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_

_

_

The mix of the instruments and vocals are condensed as the overall mix is brought closer together.

THE MELODY_

The melody is less distinct.

The piano has some clarity.

_

PERCEPTION OF THE BEAT OR RHYTHM_

_

_

The beat is still very obvious but its paunchiness has been reduced.

GENERAL ATMOSPHERES_

The muffling gives the song an overall ethetial element.

_

Overall the reverb has softened the song.

125

ITERATION 15_ Two separately folded planes, one encasing and the other directing the sounds out.

SAMPLE 01_ LACRIMOSA

SAMPLE 02_ CITY OF STARS

SAMPLE 03_ BLACK BETTY

OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_

_

_

The bass has maybe been clipped slightly but the treble is not too harsh either.

VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_

The vocals have more prominence and especially the high notes towards the end of the sample have an increased clarity without sounding tinny.

The quieter start is more noticeable now and pushes past the vocals at times.

It sounds more sweeping and grand, building up the the full chorus. _

_

_

Piano melody, especially higher notes seem to be amplified more so than otheres.

The guitar is less perceivable as the previous iterations reproduction.

_

The punches of the beat are quite perceivable. The drum solo has increased clarity.

_

Good reproduction and amplification seems quite consistent.

_

THE MELODY_

PERCEPTION OF THE BEAT OR RHYTHM_

GENERAL ATMOSPHERES_

126

the appendix ITERATION 16_ Four sides, each with facating and folding to bounce the sound around inside, omnidirectional with four openings on the sides.

SAMPLE 01_ LACRIMOSA

SAMPLE 02_ CITY OF STARS

SAMPLE 03_ BLACK BETTY

OVERALL BALANCE OF THE SAMPLE, THE BASS, MID AND TREBLE_

_

_

Bass has been restored from the previous iteration.

VOCALS AND THEIR MIXING WITH THE INSTRUMENTAL ELEMENTS_

The mix has been condensed and again the vocals start to feel like an instrument sitting amongst the orchestra.

_

The vocals have an edge here maybe, overrunning the beat that sits under them.

THE MELODY_

The persistence of the melody is more perceivable, its repetition. Overall also the sweeping tones are almost echoed around in an interesting fashion. _

The piano is perhaps more distinct.

_

_

_

Unique quality when listened in omni-directional fashion, seems to emanating from somewhere ethereal, quite an interesting effect.

Reproduction relatively similar.

Almost a concert quality to the sound. The clarity is very good overall and reproduces the punches of the song well.

PERCEPTION OF THE BEAT OR RHYTHM_

GENERAL ATMOSPHERES_

127

First batch of water testing was less successful given the size of the waves and the background making it harder to see the waves.

128

the appendix Looking at the effects of simple 2D gestures being transformed into 3D geometries through cutting an folding of flat planar surafces.

129

Results from Acoustic Analysis of the shell form. Iteration one was chosen because of its even spread a mix of amplification as well as the integration with the outer shell over the top and reach over the audience to provide shade and enclosure.

130

the appendix

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 01_

PLAN VIEW, SPL GRAPH

SHALLOW ANGLE AND LOW BACK OF THE SHELL, OVERHANG TO BOUNCE THE SOUND

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

131

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 02_

PLAN VIEW, SPL GRAPH MINIMAL OVERHANG AND HIGHER SHELL STRUCTURE

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.86 _ SOURCE 02 38.32 AVG. SPL _ 80.17 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

132

the appendix

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 03_

PLAN VIEW, SPL GRAPH

FLATTER PROFILE BUT WITH NO OVERHANG

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.52 _ SOURCE 02 39.48 AVG. SPL _ 79.80 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

133

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 04_

PLAN VIEW, SPL GRAPH

ARC-LIKE PROFILE AND LITTLE REACH OVER THE AUDIENCE

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.92 _ SOURCE 02 39.48 AVG. SPL _ 79.04 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

134

the appendix

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 05_

PLAN VIEW, SPL GRAPH

LARGER BACK FLAT SURFACE AND INCLINE IS GREATER

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 04.67 _ SOURCE 02 38.98 AVG. SPL _ 79.72 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

135

SOUND SOURCE 02_

SOUND SOURCE 01_

ITERATION 06_

PLAN VIEW, SPL GRAPH

VERY FLAT PROFILE AND LARGE REACH OVER THE AUDIENCE

RAY TERMINATION POINTS

ISOMETRIC, SPL GRAPH

STANDARD DEVIATION _ SOURCE 01 17.70 _ SOURCE 02 41.06 AVG. SPL _ 77.16 dB

HEIGHT OF BACK OF SHELL DOOR OPENING HEIGHT SHELL HEIGHT SHELL REACH SHELL INCLINE

136

137

the appendix

INITIAL USE OF OCTOPUS TO ANALISE A SECTION OF THE SHELL, A SIMPLE PARAMETRIC MODEL WAS USED TO MIMIC THE ARC OF THE SHELL AND THEN PLOTTED ON THE GRAPH

INITIALLY USING A FLAT SURFACE FOR THE AUDIENCE, THE FIRST GENERATIONS WERE MADE TO SEE THE OPTIMAL SOLUTIONS WITHOUT THE COMPLEXITY OF THE ANGLED SURFACE, THE DEFINITION WAS REFINED TO BE CLOSER TO THE SOLUTIONS DISCOVERED FROM THESE GENERATIONS TO BE OPTIMAL.

138

the appendix USING JUST STANDARD DEVIATION RESULTS VARIED THE PARETO FRONT SEEMED TO PICK UP PREDOMINANTLY ON THE EVENNESS OF THE SD WHICH LEFT THE SOLUTIONS WITH MAINLY MID-RANGE SPLs

ADDING IN A THIRD AXIS FOR ANALYSIS AVERAGE OF THE SPLs ACROSS ALL THE DATA FROM BOTH POINTS THIS MEANT THAT SOLUTIONS WITH LOUDER AMPLIFICATION COULD BE FOUND WITHIN THE DATA SET

139

POST-FORMED SHELL ITERATION BECAME FORM FINDING FOR THE SHAPE OF THE SHELL AS IT WAS SUGGESTED THAT A POST-FORMED SHELL MAY BE DIFFICULT TO DEFINE AND OPTIMISE

140

INVESTIGATIONS INTO POST-FORMED GRID SHELLS USING KANGAROO IN GRASSHOPPER USING TUTORIALS FROM ALBERTO PUGNALE THE FINAL SHELL SHAPE NEEDED TO PROJECT SOUND IN A FOCUSED DIRECTION SO EXPERIMENTING WITH STRUCTURE AND CLADDING TO DO SO.

Cladding on the internal face Grid shell and cladding detail 1:5 @A3 Cladding on the external face

Light

Light

External Timer Laths

Polycarbonate Cladding Internal

Laths connection system, allowing localised movements

External Polycarbonate Cladding

Timer Laths

Internal

141

the appendix

142

the appendix

INTERVENTION SHADOW ANALYSIS_

SPRING/AUTUMN

SUMMER

1600

1200

0900

WINTER

143

SCHOOL DEMOGRAPHIC RESEARCH_

TRINITY COLLEGE —

COLAC SECONDARY COLLEGE —

COLAC PRIMARY SCHOOLS —

BEEAC PRIMARY SCHOOL —

PRIVATE SCHOOL

PUBLIC SCHOOL

PUBLIC SCHOOL

PUBLIC SCHOOL

750 pupils, 90 year 12

484 pupils, 40 year 12

Between pils at schools tre and

Closest school, north of the site 33 pupils

SCHOOL CAMPS FROM MELBOURNE

UNIVERSITY AND PRIVATE

Music camps from private and public school, catering for week long stays in the accommodation

Higher education and private groups from Melbourne or the local areas

OPERATE BUSES FOR AFTER SCHOOL AND DURING SCHOOL HOURS ACTIVITIES ON THE SITE

144

239 and 186 pueach of the 3 in the city cena further

PROVISION OF AFTER SCHOOL CARE AND ON-SITE STUDY SPACES, AN EXTENSION OF THE SCHOOL SPACES

the appendix 100m 250m

500m

The Site

1:50,000

YEARLY AVERAGE WIND ROSE Melbourne

Mount Gellibrand Wind Station

Port Philip Bay Geelong

Colac

Lake Colac

Wide context drawing from mid-semester that was not used as the Miro board included broad site context information.

Princess Hhy Colac, Victoria is just under two hours from Melbourne by car driving along the Princess Highway, and just over two hours by the Warrnambool v-line service. The site itself is a further ten minute drive north of Colac and sits aproximatly one hundred and twenty eight kilometers from Melbourne GPO. Colac station

145

PRECEDENT_ Hollywood Bowl USA (1922)

LOOKING AT THE EXPANDING SEATING PATTERN, HOW WOULD AUDIO QUALITY BE AT DIFFERENT DISTANCES? SHAPE OF THE SHELL IN SECTION

LINK: https://www.hollywoodbowl.com/

146

the appendix

PRECEDENT_ Radio City Music Hall / Edward Durell Stone & Donald Deskey Manhattan, USA (1932)

AGAIN ANOTHER PRECEDENT FOR THE INTERNAL LAYOUT OF THE AUDITORIUM SPACE — INFLUENTIAL FOR BOTH THE OUTDOOR AUDITORIUM AND THE INDOOR THEATRE SPACE IN THE SCHOOL BUILDING ALSO NOTABLE THE BACKSTAGE AREAS AND THEIR ARRANGEMENT AND THE FRONT OF HOUSE. AS A MASSIVE AUDITORIUM HOW DO THEY GET PEOPLE IN AND OUT QUICKLY.

LINK: https://www.archdaily.com/792104/ad-classics-radio-city-music-hall-edward-durell-stone-and-donald-deskey?ad_ medium=gallery

147

First Floor 1:1000 @ A3

Ground Floor 1:1000 @ A3

Ground Floor 1:200 @ A0

First Floor 1:200 @ A0

5

IT BECAME OBVIOUS THAT THE CENTRAL CORRIDOR SHOULD BE A SEGMENT OF THE ARC INSTEAD OF STRAIGHT, THIS WILL TIE IT CLOSER TO THE OVERALL SITE PLANNING. ALSO THE SCALE OF SOME OF THE SPACES NEEDED TO BE CONSIDERED CLOSELY. THE LAST ITERATION CONSIDERED MORE CLOSELY THE BUILDING’S ARCHITECTURE TOO, WHEREAS THIS IS MERE WALLS AND DOORS. 148

10

20

50m

149

the appendix

PRECEDENT_ Vineyard House / John Wardle Architects Tuerong, Victoria (2004)

LINK: https://www.johnwardlearchitects.com/projects/vineyard-residence/

150

the appendix PRECEDENT_ BUGA Wood Pavilion / Archim Menges University of Stuttgart, Germany (2013)

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

151

SCHOOL BUILDING REWORKING_

OVERALL PROGRAM SHIFT REALLY BECOMING A MORE INTEGRATED ARTS SCHOOL, SO LESS CONFERENCE ROOMS, MORE STUDIOS, WORKSHOPS FOR VISUAL ART ETC. PRIVATE SPACES, NOT VIEWED, PRACTICE ROOMS, COMPUTER LABS, DARKROOM, STORAGE

STAGE AND BACKSTAGE

FFL LOWER LARGER PRACTICE ROOMS, CONFERENCE SPACES, STUDIOS PERFORMATIVE

CIRCULATION MOVING THROUGH THE BUILDING STOPPING AND PAUSING ON THE ARC TO VIEW TANGENTIALLY

152

the appendix

SECTIONAL RELATIONSHIPS SKETCHING OVER STRUCTURAL MODEL_

SECTION PERSPECTIVE TESTING_ 153

BAR AND DINING VIP AND SPONSORS

KITCHEN AMENITIES

VIP Pavion

ACCESS FROM FESTIVAL SITE

VIEWING PLATFORM

- -

AMENITIES

STAGE

ACCESS - -

CROWD MANAGEMENT

Audience

GATED

TICKETING

Performance

FESTIVAL SITE INCLUDES DINING AND AMENITIES

WINGS

Front of House BACKSTAGE GREEN ROOM STORAGE

TECH AND CREW

CHANGE ROOMS

PRESS AMENITIES PRESS ROOM

PERFORMERS SPACE

FACILITIES

Behind the stage

GREEN ROOM

LINK BACK TO ACCOMMODATION

Performer’s pavilion

OVERALL SITE PROGRAM DIAGRAM_ 154

ROAD AND DELIVERIES

the appendix DELIVERIES

Performance WORKSHOP

Visual arts

TECH AND CREW GREEN ROOM

AUDITORIUM

CHANGE ROOMS

SOUNDSTAGE

BACKSTAGE FOYER

ENSEMBLE ROOMS

FACILITIES

VIEWS TO THE LAKE

ENTRY

Front of House

AMENITIES

STAFF OFFICES

STUDIOS

BREAKOUT SPACE

RECEPTION

The corridor

CONFRENCE PRACTICE ROOMS

LINK BACK TO ACCOMMODATION

Outdoor space

SCHOOL PROGRAM DIAGRAM_ 155

journal notes and annotations

156

157

the appendix

158

159

the appendix

160

161

the appendix

162

163

the appendix

164

165

the appendix

166

167

the appendix

references

Antemann, Martin. (2014).‘Seven Storey Wood Office Building in Zurich’, Detail, Vol.1 2014, Schittch, Christian (eds), 174.

Cornachio, Jon. (no date stated).

‘Stronger Than Steel: Shigeru Ban’s Glulam Revolution’. Architizer. https://architizer.com/blog/ inspiration/collections/shigeru-banglulam/ Downton, Paul. (2013). ‘Rammed Earth’, ‘Your Home’. https://www. yourhome.gov.au/materials/rammedearth Energy Architecture. (2020).

‘ESD / Eco Design’. http://www. energyarchitecture.com.au/about-us/ esd-environmentally-sustainabledesign-eco-design/ Holding E. (2000). ‘Staged Architecture: The Work of Mark Fisher’, Wiley.

Mirra, Gabriele (et al.).

(2018) ‘An automated design methodology for acoustic shells in outdoor concerts’, Euronoise . https://journals.sagepub.com/ doi/10.1177/1351010X19893593 Pugnale, Alberto. (2018).

‘Integrating Form, Structure And Acoustics: A Computational Reinterpretation Of Frei Otto’s Design Method And Vision’, Journal of the International Association for

168

Shell and Spatial Structures no. 59 (vol. 1), 75.

Salzberg, Jeffry E. and Kupferman, Judy, ‘Stage Lighting for Students’, www.stagelightingprimer.com/index. html?slfs-fixtures.html&2 Schafer M. (1993). ‘Soundscape, Our Sonic Environment and the Tuning of the World. Inner Tradition’.

TedED, David Byrne. (2013) ‘How architecture helped music evolve David Byrne’. https://ed.ted.com/ lessons/how-architecture-helpedmusic-evolve-david-byrne

NOTE_ ALL ARCHITECTURAL PROJECT USED AS PRECEDENT ARE REFERENCED AT THE BOTTOM OF THE RESPECTIVE PAGES.

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170