Claymatic

Matthew Nicholl +44 (0)79 12366568 | mnicholl05@qub.ac.uk Master of Architecture | Queen’s University, Belfast | School of Natural and Built Environment

- Acknowledgements I would like to thank Ruth Morrow and Robert Jamison for their discussion, direction and dedication throughout the entirety of the project.

Without Precedent “Music is liquid architecture, architecture is frozen music.”

- Johann Wolfgang von Goethe

Contents

DESIGN Personal Introduction Site Analysis Programme Acoustic Principles Cymatic Experiments Exploring Texture French Ultramarine Yellow Ochre Concave/Convex Initial Construction 3D Laser Scanning Elephant Crocodile Armadillo Frog Transmission Loss Absorption Coefficient Alternating Acoustics Initial Panel Direct Clay Formwork Finish Hi-Fi/Lo-Fi Acoustic Pressure Sonic Scenarios Base Development Panel Rotation Vacuum Forming Constructing Prototype Final Outcome Renders Virtual Reality

9 - 10 11 - 20 21 24 - 27 28 - 30 32 33 34 37 40 42 43 44 - 45 46 - 47 48 - 49 50 51 52 53 55 56 57 58 59 63 65 69 - 73 77 78 - 81 82 - 86 87

TECHNOLOGY Claymatic

90 - 96

COMPLIANCE Report

98 - 106

PUBLIC CO-LAB Finding Foyle

108 - 118

DISSERTATION Phenomenon of Street Morphology and Materialisation

120 - 122

Resume

Brave New Delft

Education Matthew Nicholl 40057659

Queen’s University Belfast, MArch; 2017 - 2019 Studio: Without Precedent. Modules in: Architectural Design; Architectural Technology; and Humanities.

University of Newcastle, BA (Hons); 2011 - 2014 Modules in: Architectural Design; Architectural Technology; Professional Practice and Management; Principles and Theories of Architecture; and Architectural History (20th Century).

Grosvenor Grammar School, Belfast; 2009 - 2011 A-Level in: Art and Design; Technology; and Politics.

Ashfield Boys’ High School, Belfast; 2004 - 2009 GCSE in: English Language; Double Award Science; Mathematics; Art and Design; Technology; and Business Studies.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Advanced adobe indesign adobe photoshop autocad bid writing collaboration concept generation document control hand sketching microsoft office site mapping/analysis sketchup visual recording/making

Intermediate 3D printing 3D scanning/AR adobe illustrator kerkythea model making rhinoceros 3D website development Improving revit solid works v-ray

EXPERIENCE

PROJECTS (selected)

Founder, Distinto; Feb. 2016 - Present Established my own company to engage in freelance business development and bid-writing activities as well as architectural design competitions. (www.distinto.info).

Rathmullan Drive Housing, Belfast, UK (2017).

Grant Thornton Office Fit-out, Belfast, UK (2017).

40-50 Townsend Road, Belfast, UK (2017).

RNLI Lifeboat House, Howth, Dublin, ROI (2017).

Notting Hill Residential Framework, London, UK (2016).

Fish Market, Sydney, Australia (2016).

UCL Marshgate, London, UK (2016).

The Factory, Manchester, UK (2016) Wellesley College Science Centre, Mass., US (2016) Barack Obama Presidential Library, Chicago, US (2015).

Shell HQ, The Hague, NL (2015).

Urban Redevelopment Kaohsiung, Taiwan (2015).

SABIC EU Headquarters, Sittard, NL (2015).

European Investment Bank HQ, Luxembourg (2014).

New York Public Library, New York, US (2014).

Architectural Designer, Todd Architects, Belfast, UK; Mar. 2017 - Oct. 2017 - Drawing and sketching design solutions by hand.

- Developing schemes using 2D and 3D computer packages.

- Producing images using rendering packages and graphic tools.

- Engaging in design debate.

- Researching products, materials and buildings.

- Operating office filing systems for drawings and correspondence.

- Submitting planning applications.

- Creating tender packages.

- Conducting site visits.

Bid Manager, Mecanoo Architecten, Delft, NL; Sep. 2014 - Feb. 2017 Support and develop a global pipeline of opportunities through the acquisition and administration of new business leads. Responsible for the original, accurate, persuasive and timely response to bids (PQQ, ITT, RFQ, EOI, Public/Private sector frameworks and open design competition). Successful response to over 60 residential, cultural, masterplan and higher educational projects across the UK, Europe, Asia and the US. Liaised with all tiers of the company structure to develop business strategies in-line with values, experience, resource and capacity. Developed particular knowledge of the UK market, associated policies and industry best practices. Refined tailed submissions based on unique and challenging application requirements. Managed input across multiple consultants in response to complex development bids. Further developed company policies, tools and protocols alongside quality project sheets, concise document layouts, robust service/teaming narratives and descriptive project text. Led colleagues in the creation of material for internal and external documents.

Flare, Belfast, UK; Sep. 2017

Design competition to create a new landmark for East Belfast. The scheme draws on the history and legacy of rope making in the immediate area of the Connswater river. [Student Ideas Competition, Royal Society of Ulster Architects - Winner].

Red Light ABC, Amsterdam, NL; 2013 - 2015

Project to reinvent the image of the Red Light District by altering the current planning framework to allow start-up businesses to advertise under a developed unified brand. The alternative guide to the Red Light District consists of a map and a digital guide with more than 80 locations for locals and visitors offering a unique insight into the arts, design, fashion and music. Funding secured from the Gementee of Amsterdam and Stadsgoed Fund.

PUBLICATIONS

Nicholl, M. (2018). Phenomenon of Street Morphology and Materialisation. Belfast: Queen’s University

Designer, AFARAI, Amsterdam, NL; Sep. 2014 - Aug. 2015 Desk at office to carry out own research project. Research established as project alongside office. I worked collaboratively to develop map, iPhone app and physical signage structure to act as local business aggregation tool for alternative, start-up businesses in Amsterdam’s Red Light District. Funding secured from the Amsterdam Gemeente and Stadsgoed fund.

Understanding the power of material, pattern, colour and texture on our streetscapes through the lense of shared-space design.

Nicholl, M. (2014). Beyond the Window, Behind the Red Light. Newcastle: Newcastle University

Considering the impacts of Project 1012 and speculative outcomes surrounding gentrification, micro re-adaptation and redevelopment.

Forgotten Spaces North East. (2012).

Research Designer, Forum for Alternative Belfast, Belfast, UK; Summer 2011 + Summer 2013 Based in Belfast City Hall, I worked to develop urban reports to be used to lobby government on infrastructure, zoning and development. I worked collaboratively as part of a multidisciplinary team and pro actively engaged in community consultation events and provided assistance in the creation of the printed outcomes.

Design Proposal published in the Architect’s Journal: - RIBA Forgotten Spaces Shortlist. 2012. The Architect’s Journal, 236 (17), p. 71. The Finalists. 2012. The Architect’s Journal, 236 (6), p. 19.

Forum for Alternative Belfast. (2011). Streets Not Roads. Belfast: FAB

Research carried out for the Belfast Conflict Resolution Consortium by forum to create a new interpretation of ‘shared space’ and connection in the city. The research was published on three A2 posters with mapping and a 16 page report. ISBN: 978-1-907577-10-9

REFERENCES

Mr. Peter Moran, Director, Todd Architects. peter.moran@toddarch.co.uk | 028 9024 5587 Mvr. Hanneke Hollander, Head of Business Development, Mecanoo Architecten. hanneke.hollander@mecanoo.nl | +31 15 2798100 Dr. Katie Lloyd-Thomas, Lecturer in Architecture, Newcastle University. katie.lloyd-thomas@ncl.ac.uk | 0191 208 5831

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Previous work Summary of previous work including: Rockvault; Can Ricart; Beyond the Window; Bertus Mulder; Eerste Kamer; New Babylon

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

#withoutprecedent

Espigueiros de Lindoso - Granaries of Lindoso

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Studio brief

techno-ethical approach is enriched through a crafted aesthetic. The theme of Semester 2 is Flooding. You should consider all the conditions associated with it i.e torrential rains, floods and storm surges and the consequences for obtaining fresh water, services and resources. This is both a pressing concern and a pedagogical strategy - responding to critical conditions often draws out our most creative responses.

This Studio is fundamentally about conjoining the social and the technological, through an ethical approach – it is underpinned by a methodology of intimate scrutiny and making.

In 1977 the philosopher Mario Bunge coined the term ‘technoethics’ to describe the responsibilities of technologists and scientists to develop ethics as a branch of technology. Bunge argued that technologists must be held not only technically but also morally responsible for whatever they design or execute that ‘not only should artefacts be optimally efficient but, far from being harmful, they should be beneficial, and not only in the short run but also in the long term.’

Your site will be located around Strangford. We would like a minimum of 3 different sites around Strangford across the studio- e.g. tidal, floodplain, estuary. You can work in smaller groups to produce a site survey. We want to restrict you to designing a volume of 50m3 since this studio is less about spatial complexity and instead focused on material and construction

So this studio adopts an approach that generates a human/e and a technical specification for architecture. It puts the experience of people, via the designer back into the design, development, construction and application of building technologies. Through experimentation, collaboration and discussion, you will build confidence, unearth your practice, and position yourself by trusting your instinct and sense of self.

The studio is lead by Ruth Morrow and Robert Jamison and our studio consultant is Geoff Morrow.

On completion of a series of award-winning works, Robert closed his London studio, Robert Jamison Architects, Autumn 2009, substituting office ritual for a semi- nomadic existence. Over the following six years Robert journeyed with purpose through landscape, city, culture and climate engaging intermittently with masters of architecture and craft, and collaborating on ad-hoc projects from India to Australia before returning to his native Belfast, and establishing a new experimental and progressive studio practice -National Experimental Workshop Studios, NEWStudios. Current projects challenge the accepted socio political and cultural epoch, a deliberate redirection from the traditional profession and construction industry, instead addressing ‘relevant and pressing’ issues through research and design, and proposing alternative ‘more appropriate’ modes of living and dwelling.

Additional: There is much in this quote from Jean Prouvé to ponder. Perhaps it’s possible with current forms of manufacturing to go beyond ‘watching work in operation’ to ‘being within the process’; or perhaps ‘utopian projects’ help to generate the momentum to fuel Prouvé’s practical evolution. Nevertheless it remains the case that Prouvé, a blacksmith by training and a self-made architect/engineer, still offers guidelines that are as relevant today as there were in the first half of the last century.

Indeed perhaps more so, since we have the technologies to respond to them and the environmental and societal urgencies to drive them.

Ruth’s work centres on the interconnections and potentials between people, place and creativity. It ranges across urban activism and material development and is underpinned by an ethos of inclusion, design excellence and collaboration.

Her practice-led research sits across two areas: firstly, that of material development, where she has patented and commercialized technologies in the area of concrete and textiles, She supervises PhDs in this area and is currently involved in a funded research project with a Scottish textile Firms and Textile designers. Her second area of research is engaged forms of social/ spatial practice, where she is the founder of the internationally recognized Street Society (linked to Street Studio) and co-curates projects with the artist collective, PS2, interacting with underserved communities in Northern Ireland’s post-conflict context. Both areas of research are underpinned by her pedagogical experience.

Bunge’s intertwining of technology, ethics and future is also reflected in Judith Wacjman’s feminist deconstruction of technology where she argues that technology has three intertwined components: the ‘thing’ i.e. material stuff and/or the software; the know-how i.e. a tacit form of knowledge that is passed between people; and the interaction of people with ‘the thing’ and ‘the know-how’. She argues that without these three interactive components there is no technology. Both of these commentators place an emphasis on reconnecting people and technology in an ethical manner – and they do so both with a sense of lineage and of future.

You will work both collaboratively and individually. Further you will also reflect on your work through group discussions and by reviewing the work of others.

Geoff is an engineer. He started his practice StructureMode, based in London in 2007, driven by his passion for beautiful design through an innovative and collaborative approach to structural engineering and materials. He has over 20 years experience designing and delivering a broad range of bespoke refurbishment and new build projects across many sectors, regions and scales. As well as working on many projects in and around London, he has considerable experience designing international projects in developing countries, using local materials to make robust, comfortable and cost efficient buildings.

Geoff is also a sculptor working mainly with steel and stoneware. Many of his pieces integrate and challenge his structural engineering.

For MArch 1 In Semester 1 you will be focused on material experimentation with concrete and textiles. This draws on the experience of the tutors, your consultant, and the well-established material research in the School of the Natural and built Environment. Semester 1 is about experimenting with materials in such a way that they release new potentials for architectural application. You will hear about the latest thinking and development of materials from practice, research and industry and you will work towards a spatial installation to complete the Semester 1 design module. In Semester 2 you will bring your experimental knowledge of materials to prototype a section of a building (a modelled element) that informs a full architectural design. It’s in Semester 2 that we consider all aspects of the building skin performance and where we ensure that the techno-ethical approach is enriched through a crafted aesthetic.

In Semester 2 you are asked to draw on and further develop all the experimental knowledge of materials and means of construction that you and your peers gained in semester 1 in order to prototype a section of a building (a modelled element) that informs a full architectural design. You will consider all aspects of the building skin performance and ensure that the

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Personal introduction

Vibrational energy and sound is all around us. Sound is a fundamental part of life, without it our perception of place and space would be vastly different. This research will aim to explore how sound can be harnessed within a structured environment in which acoustic properties can be altered. I seek to create a spatial experience that utilises resonance to forge an appreciation of the natural sounds of Strangford Lough. Building on materiality, texture, composite and contemporary processes I seek to create a sonic device that facilitates an awareness of sound.

The project will be situated on Mahee Island in close proximity to Nendrum Monastery and Nendrum Castle. Maintaining a strong connection with the lough as well as these historic places, the prospective project will be semi-submerged in the lough, this will enable the water to have a strong interplay with the eventual programme, flowing within and around. The considerable tidal fluctuations will impact the buildings programme with high and low tides opening up and shutting down areas of the structure. The potential of trapping water within the structure will naturally mean that water is an important material within the scheme. How this is harnessed and exploited is yet to be developed.

Drawing on structures within the area/immediate area of interest and further around the Lough, the programme of the structure will heavily relate to spiritual activity and facilitate a range of contemplation, worship and ritual. A processional space, that serves a range of spiritual endeavours. This will feature the traditional trappings of a worship space, alter, bell and pew. A flexible space will also be created to facilitate a range of interactions and spiritual endeavours from chanting to retreat, learning to engaging.

A large scale cymascope will occupy the ground level, which will enable singers and chanters to visualise their vibrations within the space. Technological/Material Proposal Materials to be local and highly contextual throughout, drawing on local craft.

Cymatics will be a primary point of departure in considering the technology surrounding the assignment. Creating a system that displays the frequency whilst also supporting through and stationary traffic will be imperative. Drawing on the local tradition of dry stone walling, the project will consider this technology in both its primitive state, as well as a contemporary take on the technique.

Key words: cymatic, vibration, sound, diffraction, absorption, reflection free-form, texture, surface, biomorphism, cardboard, vacuum form, interplay, panel Key aspects: - acoustic manipulation - human/e + technical specification for architecture - experience of people/interaction - material experimentation

Cymatic frequency shown in water

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Transcendent Architecture throughout the ages has been manipulated to enhance transcendent experiences. Certain rooms, temples, churches and cathedrals amongst others have been designed to create frequencies that alter the physical state of the body. These devices alter various flows across various biological systems in order to facilitate entry into other dimensions.

80 hz Music has long been associated with worship, bringing people together, communicate stores and bring mind and matter in flux. Meditation is a prime example of how acoustic resonances (music) is used to create transcendent experiences.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Mahee Island Mahee Island is the largest island situated on the lough. The island itself has a few residential properties as well as a golf club, castle and monastic site. The area is rich in flora and fauna and its shoreline has a drastic change in tidal levels.

OS map showing immediate area of interest. The map depicts ares of high/low water depths

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Area The area of Strangford Lough is rich in biodiversity. The Lough itself is one of the largest sea inlets in the British Isles covering some 150 square miles. Designated as an area of special protection and conservation the area contains over 2000 species.

Intertidal mud flats to the North

Nendrum round tower and outer wall

3.5 - 4m tidal elevations

View from Mahee Castle

Remains of adjacent tidal mill

Chapel ruins

View from Round Tower (NW)

Site shoreline

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Immediate Area Mahee Island is the largest island on the lough. The Nendrum monastic site is considered a special archeological site.

4.4

Shingle

3.9

The Step 3.6 (ruins of)

Mud

Nendrum Castle

Mud

Pond

Round Tower

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Sundial Monks who inhabited the monastery were curious to understand the natural world around us and as such set about developing a range of technologies to harness and understand the natural aspects of the site from early sundials as seen above to one of the earliest examples of a tidal energy machine.

Early sundial

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Nendrum Round Tower

Nendrum is among the best surviving examples of an early Irish medieval monastery. Nendrum’s was most active between the 7th and 10th centuries. Its ruins include a church, round tower, house platforms, sundial, enclosure walls and tide mills.

History According to the earliest recorded tradition the church at Nendrum was founded by Saint Mo-Choi, an associate of Saint Patrick, in the mid 5th century.

Enclosures The layout of the monastery reflects its complex organisation as a large religious community involved in many activities ranging from farming to metal work. Space is divided into three concentric zones, with the holiest at the centre.

Round Tower

Archaeology The most extensively excavated monastic site in Ireland, the major work was carried out a Nendrum between 1922 and 1924, when some of its ruins were partially restored. The tide mills on the foreshore beneath the monastery were excavated between 1999 and 2001.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Tidal Influences The lough itself is a powerful tidal machine, water and currents from the Irish Sea push considerable amounts of water into the inlet. The result of this is vast changes in tidal level. This is particularly apparent to the North side of the lough near Newtownards.

Changes in level of about 3-4 meters occurs at this side of the lough.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Lunar Tidal The moon’s gravitational field has a considerable impact on the tidal conditions of any given site.

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3

Meters

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1

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Neap Tide

Low Tide Spring Tide High Tide

SUN

High Tide

Spring Tide Low Tide

The lunar calendar is an important device that has been used throughout the centuries to accommodate various activity such as planting, worship and festival. Biodynamics is the concept that encompasses this activity.

Neap Tide

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Wind Strength and Direction The site is also affected by the local wind conditions that vary in intensity and direction during the year. The wider area of Strangford is full of drumlin land formations. Given the exposed, on the water location of my project, the structure may be subject to even more intense winds. Structurally combating this whilst programmatically accommodating this will be essential.

January

February

March

April

May

June

July

August

September

October

November

December

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Site

SECTOR 4

SECTOR 3

SECTOR 2

SECTOR 1

The site has a series of conditions which make it unique and well suited to the proposed development. To begin to understand the opportunities and constraints of these various conditions, I set about dividing the site into sectors so to unpack the site and understand the progression, hierarchy and qualities of each ‘space’.

+

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+B +

A

[

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AREA OF INTEREST

D

+C

Focus 1 ‘MONUMENT’ Compliment and protect existing built environment.

Focus 2 ‘HABITAT’ Secure nature and minimise impact.

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Focus 3

Focus 4

‘SHORE’ Site of intervention, maximise tidal fluxes and incorporate this material and movement into the proposed scheme.

‘FLUX’ Maintain good water quality, minimise impact on marine life.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

+E

Focus 5 ‘CONNECTION’ Maintain connection - create destination.

Contextual Textures There are a lot of natural textures that exist on the site. From frozen water to drystone walls, bark to seaweed. You only have to look close enough to realise the fractal complexities of each textures. These textures provide a good reference to begin to understand the material makeup of the area and associated aesthetics. I took a photo of each texture and processed each image into black and white. Further to this I distilled each image into a simple line drawing. Each drawing serves as a kerf cut, able to bend ply.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Programme To begin to understand my proposed structure further I began to consider what programme would suit the project and why.

For me the creation of a ‘device’ similar to the sundial was important departure point. Such as solar, sonic is an important underlying principle of the world around us. Therefore creating a structure that serves as domain for pushing sonic and vibrational understanding seemed like a good fit. I was also inspired by benedictine chanting, which would have taken place at Nendrum Monastery during the 5th century.

Water Situated within the lough, the structure has a strong relationship with the water. Maximising this relationship and providing space to enable sounds from the water itself is a key consideration.

Rain The weather conditions are such that rainwater will be a predominant feature throughout the year, harnessing these sounds will add another layer to the scheme.

Wind Relatively open and exposed on the water, moderate winds are expected year round.

This input can be captured throughout the structure.

External input The potential to integrate plug and play systems will make it so that musicians and performers can plug their kit into the structure for performances.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

User groups The structure will be subject to experiences from a cross section of the population. I want to create a destination space that can open up an appreciation of the sonic atmosphere to as many people as possible. Not only a tourist attraction, its important that the structure can develop and advance society in some way. To this end, Musicians can use the object to understand and explore sound through performance as much as the Biologist can use this structure as a look out and listening post.

MUSICIANS TOURISTS

MARINE RESEARCHERS LOCALS

SCHOOL GROUPS WORSHIP

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Simplifying Existing Facade Nendrum Round Tower is an important feature of the wider site. This is something I want to refer to in the new structure. The current footprint of the round tower is approximately 4.6m in diameter. Therefore the new footprint of the proposed structure will match this.

The dry stone wall technique used in the round tower is bulky, measuring 1700mm. To this end, my project will seek to realise an ultra thin acoustic envelope that challenges the idea of permanence and performance. To this end I propose to mimic this relationship and create an envelope that measures 170mm, a 90% reduction.

4.666D

0.17m

Proposed Cymatic Tower

1.7m

Round Tower Nendrum - 4.666D

TRANSPOSE

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Introduction to Acoustic Principles Sound is like water. It doesn’t have a shape or form, but rather it moulds itself to its surroundings. Like water, sound can be absorbed by some materials and contained by others. The discipline of acoustic sciences and engineering is vast continuously changing with new developments and concepts. Given the sonic nature of the project I set about researching and understanding core concepts to inform the development.

0 16 Hz

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Ossicles

1 kHz

Cochlea

Tympanum (Eardrum)

Reduction in threshold level

Ear Canal

Outer

Middle

20 4 kHz 30 8 kHz 40 50 60

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16 kHz 20

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Age (years)

As you age, your ability to hear higher frequencies decreases. This is due to general wear on the body. This can degrade to such an extent that external mechanical implants are needed to boost hearing.

Aural perception starts with the ear. Airbourne sounds reach the ear drum via the ear canal. These vibrations are picked up by the ear drum which in turn sends neural information to the brain which in turn decodes this into what we appreciate is as sound.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Additional Acoustic Principles Sound has many applications from tracking physical space by bouncing waves of objects (sonic doppler) to cleaning medical instruments as well as breakout experimental research is exploring how sound can levitate objects.

Super Sounds

Threshold of Pain

Ultra-sounds

Infra-sounds

Intensity (W/m2)

1 Audible Sounds

10-12 Below threshold sounds

20 Hz

16 Hz

Sounds have different classifications that group ranges. Sound can be used as a weapon and inflict a lot of pain, these infra super sounds are ‘noisy’. In contrast ultra and below threshold sounds are generally undetectable, but still have a physical presence.

High and low frequency sounds react differently to space, this is due in part to phase, propensity and general movement. Lower frequency sounds tend to wrap around vertices and project further, where as high frequency sound waves tend only to project in a linear fashion.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Threshold of Audibility

Cosmic Microwave Background The world is a manifestation of vibrational frequency. The cosmic microwave background (CMB) is electromagnetic radiation as a remnant from an early stage of the universe in Big Bang cosmology. The below image is the Nine Year Microwave Sky. The image reveals 13.77 billion year old temperature fluctuations (shown as colour differences) that correspond to the seeds that grew to become galaxies.

Nine Year Microwave Sky. NASA

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Sound Spectrum The human ear has 3 times more neural connections to the brain than the eye. We can detect vibrating molecules from as low as 20hz up to 20,000hz. That is 100 times or 10 musical octaves. Visual sight in comparison is the equivalent to a single octave, the known colour spectrum ROYGBIV.

Frequency Range = 1,000 X’s

Range of Hearing Range of Sight 2

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Cymatic Experiment I Sound is an invisible matter, a series of particle pressures that produce an affect. The invisibility of sound makes it very difficult to appreciate. You can hear it feel its affect on your body but things we cant see limit our understanding. Cymatics is an experimental branch of sound study which aims to visualise sound. This is achieved by passing sonic vibration through a viscous medium.

I set about creating my own cymatics machine and experimenting with various frequencies to derive pattern.

60 hz

80 hz

120 hz

At low hertz the water begins to move, forming small peaks. At this level, embodied energy is funnelled out to the sides of the container.

Increasing the frequencies results in closer interactions between the peaks.

This trend continues, around this frequency the water begins to stick to the middle of the dish.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Cymatic Experiment II Building upon the last cymatic experiment, I tried a different a more viscous fluid to accentuate the different shapes and patterns. I mixed cornstarch and water with a 4/1 ratio then channelled this through the machine. The results where a lot clearer to understand due to viscosity as well as opaqueness.

33 hz

80 hz

120 hz

QR Scan code with mobile to view video of full experiment

133 hz

166 hz

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Observed Patterns I set about trying to document the various cymatic patterns as simple line drawings to appreciate the progression of form.

Translating these from a physical 3D medium to a static 2D representation doesn’t fully capture the infinite and fractal geometries. It is clear from the experimentation that as the frequency increases, the level of complexity of pattern increases. Change can be slow between certain ‘sweet spots’ this requires a bit of play. Once the frequence is fixed, provided the medium is exactly the same, the pattern can be recreated.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Precedent - Sound as Landscape Sound structures have been created through the ages in order to draw attention to a specific place or to serve as a device to manipulate sound. These are a spectacle in themselves but certain digital techniques can also be deployed to alter each system.

Musical steps

Fountain, Villa d’Este

Sea Organ, Croatia

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Exploring Texture From my early explorations and interpretations I established that pattern could be deployed to alter acoustic properties as well as fundamentally change aesthetic perception. Playing with the idea of water and viscosities from the cymatics, I sought to experiment with pattern and texture using wet to dry materials to bring to capture this idea of fluidity and solidity, to capture natural movement.

For the initial exploration I began to construct surface with oil paint. Oils are wet and pliable with a relatively high viscosity, this enables them to be manipulated into a series of forms before drying and holding their shape. The drying process takes anything from a couple of days to a few weeks, this depends on how thickly the substance has been applied.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Oil Cast - French Ultramarine I created a series of cardboard disks and began to apply the oil paint in different ways to create miniature textural landscapes. I played the SOL - 741hz (awakening intuition) frequency in accordance with proclaimed “Solfeggio Frequencies” whilst applying the oil.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Oil Cast - Yellow Ochre For this sample I played the LA - 852hz (returning to spiritual order) frequency in accordance with the Solfeggio harmonic whilst applying the oil. Both colours were chosen on the basis of Kandinsky’s colour theory. Yellow is the core instance of warm, whereas blue is cold. Further, yellow moves out of itself, where blue moves within itself concentrically.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Solid/Void After the cardboard and oil paints were primed I cast each disk in plaster. Removing the card from the plaster resulted in some of the oil paint bonding onto the material, creating interesting textural imprints as well as infusion of colour.

Oil inverse

Cast plaster

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Standing Waves A standing wave, also known as a stationary wave, is a wave in which its peaks (or any other point on the wave) do not move spatially. The amplitude of the wave at a point in space may vary with time, but its phase remains constant.

Closed end is pressure antinode

Air displacement

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Open end is pressure node

Air pressure variations

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180 phase change upon reflection since the wave encounters a lesser acoustic impedance. This phase change is associated with energy loss as sound energy is transmitted to the outside air.

No phase change upon reflection since the wave encounters a greater acoustic impedance.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Concave/Convex So far as material and texture can have an impact on sound absorption and deflection so too can the shape of the panel. The below image summarises the theoretical sound paths assumed on concave/convex surfaces.

Concave serves to dampen surfaces, this is due to frequencies being reflected onto one another, cancelling each other out. Convex on the other hand given its geometry deflects sound.

Absorption

Reflection

-6 db (2t)

Absorption

AUDIENCE

STAGE performance absorption/reflection areas

Ab sor ptio n

on ecti Refl

convex reflection

performance shell reflection/absorption

concave reflection

37

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Existing Acoustic Panel Technologies A considerable amount of sound insulation products exist within the marketplace, these range from relatively inexpensive ‘secondary’ post construction insulated products to pre-planned constructed details. These products tend to be made from either foam, felt, timber or fabric.

38

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Textures Natural textures are everywhere, from the skin to bark, sand dunes to complete mountain ranges, across a multiplicity of scale and surface. This phenomenon is truly fractal.

39

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Initial Construction To begin to test my own textures I need to create a back panel so that I could apply the clay on top. Cardboard is a cheap and versatile material. I was able to source a considerable amount of cardboard bicycle boxes from our family business. Cardboard has an added advantage in that is requires simple tools for it to be worked into shape.

60 hz

80 hz

120 hz

Old bike boxes where folded out into a net and pieces were drawn and measured in the most efficient way.

Each panel was then cut out using a sharp serrated knife into the desired shape. These pieces where then layered and glued.

Each bundle was stacked and glued further to create the desired panel size. This model dimension is approximately 1000m x 800mm.

40

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

41

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

3D Laser Scanning I used a Monolta 3D scanner under the guidance of John Maneely from the geography department of Queens University to capture the geometries of my clay experiments. The scanning equipment and associated software can produce models to within 1/3 of a millionth of a millimetre in accuracy.

3D scanning Elephant texture

After the scans were taken of each of the clay textures, I could upload them as a 3D digital asset and begin to play with their various properties

42

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Elephant Elephant is rough yet smooth. Each layer of clay is thumbed into place thinly and built up gradually until a layer of clay covers the entire cardboard section whilst maintaining individual stroke definition.

QR Scan code with mobile to view interactive 3D model.

43

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Crocodile Crocodile forms ranges of peaks. Each with its very own acoustic valley. Clay was applied in cylinders spanning the width of the panel. These were then worked into peaks using a palette knife.

44

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

45

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Armadillo Armadillo is repetitive, to create this surface texture a rectangular dowel was used to press and slightly move the top 1/3 layer of clay.

The result is a series of square and rectangular indentations.

46

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

47

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Frog Frog consists of a series of bumps, each group forming an acoustic pocket. To create this I modelled the clay into a ball, roughly the same size as a golf ball. Once applied, I used a palette knife to blend that material with the cardboard surface.

48

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

49

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Transmission Loss Transmission loss refers to the amount of decibels that are stopped by a wall or other structure. This phenomenon is best tested in a physical environment. A source speaker is placed in one space with a microphone measuring the output sound. Another microphone is set up in an adjacent space. The difference is calculated and a value is produced. The manipulation of material and buildup influences this, with certain materials performing better than others.

Average (Hz)

What can be heard

25

Normal speech can be understood quite easily and distinctly through wall

30

Loud speech can be understood fairly well, normal speech heard but not understood

35

Loud speech audible but not intelligible

40

Onset of “privacy”

250 Hz

500 Hz

1000 Hz

2000 Hz

4000 Hz

110mm brick, plastered

45

34

36

41

51

58

62

2

150mm concrete

47

29

39

45

52

60

67

3

220mm brick, plastered

50

41

45

48

56

58

62

4

330mm brick, plastered

52

44

43

49

57

63

65

5

130mm hollow concrete blocks

46

36

37

44

51

55

62

6

75mm studs, 12mm plaster boards

40

26

33

39

46

50

50

7

75mm studs, 6mm ply both sides

24

16

18

26

28

37

33

8

Same but staggered separate studs and ply

26

14

20

28

33

40

30

9

T&G boarding, plasterboard ceiling

34

18

25

37

39

45

45

10

Same but boards floating on glass wool

42

25

33

38

45

56

61

11

Same but 75mm rock wool on ceiling

39

29

34

39

41

50

50

12

As 10 + 75mm rock wool on ceiling

43

27

35

44

48

56

61

13

As 10 + 50mm sand pugging

49

36

42

47

52

60

64

14

125mm reinforced concrete slab

45

35

36

41

49

58

64

15

As 14 + floating screed

50

38

43

48

54

61

65

16

150 hollow pot slab + T&G boards

43

36

38

39

47

54

65

Floors

42

Loud speech audible as a murmur

45

Loud speech not audible; 90% of statistical population not annoyed

50

Very loud sounds such as musical instruments or a stereo can be faintly heard; 99% of population not annoyed Superior soundproofing; most sounds inaudible

Windows 17

Single glazed, normal

22

17

21

25

26

23

26

18

Double 4mm glass, 200 absorber reveals

39

30

35

43

46

47

37

19

Same but 10mm glass panes

44

31

38

43

49

53

63

Partitions

Receiving Room

Microphone

Microphone

Source Room

Speaker

60+

125 Hz Walls 1

STC

Octave centre frequencies

20

Two sheets 10mm ply, 38mm cavity

20

25

23

43

47

21

Same + 10kg/m2 lead on inside faces

25

31

38

57

62

22

Same but also fiberglass absorber in cavity

29

42

49

59

63

23

Studs, 10mm plasterboard both sides

16

35

38

48

52

37

24

Same + 13 mm fiberglass under plasterboard

22

39

46

56

61

50

25

Same but staggered independent frames

34

40

53

59

57

58

26

75mm studs, 2 x (5mm hardboard)

12

21

25

40

46

48

27

Same but 2 x (6mm hardboard)

15

25

37

51

51

51

28

100mm studs, 2 x (5mm hardboard)

9

19

28

39

51

60

29

Same but 2 x (6mm hardboard)

13

30

32

38

41

44

30

200mm hollow concrete blocks

35

35

40

47

54

60

31

100mm precase concrete panel

36

39

45

51

57

65

32

110mm brick, 2 x (12 render, 50 x 12 battens, 12 softboard with bonded 6mm hardboard

35

43

54

65

73

80

Doors 33

50mm solid timber, normally hung

18

12

15

20

22

17

24

15

18

21

26

25

28

34

39

41 39

34

Same but airtight gaskets

22

35

50mm hollow core, normally hung

15

36

Same but airtight gaskets

20

37

Double 50mm solid timber, airtight gaskets, absorbent space (lobby)

45

38

50mm glass wool slab (26 kg/m2)

30

27

27

27

39

Corrugated fibrous cement (34 kg/m )

34

33

33

33

33

42

40

25mm plasterboard (2 x 12.5 laminated)

30

24

31

31

32

30

34

41

50mm plasterboard (4 x 12.5 laminated)

37

28

34

34

40

38

49

Sheets

50

2

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Absorption Coefficient

Octave centre frequencies

The absorption coefficient is deployed when measuring sound absorption. This is linked heavily with materiality and layering once more and is defined by the ratio of energy absorbed.

Incoming sound

Outgoing sound

125 Hz

500Hz

2000 Hz

Boarded underside of pitched roof

0.15

0.1

0.1

Boarding on 20mm battens on solid wall

0.3

0.1

0.1

Exposed brickwork

0.05

0.02

0.05

Clinker concrete exposed

0.2

0.6

0.5

Concrete or tooled stone

0.02

0.02

0.05

Floor: cork, lino, vinyl tiles, wood blocks (parquetry)

0.02

0.05

0.1

25mm cork tiles on solid backing

0.05

0.2

0.6

13mm softboard on solid backing

0.05

0.15

0.3

Same but painted

0.3

0.1

0.1

13mm softboard on 25mm battens on solid wall

0.3

0.3

0.3

Same but painted

0.03

0.15

0.1

Floor: hard tiles or cement screed

0.3

0.03

0.05

Building Materials

Glass in windows, 4mm

0.1

0.1

0.05

Same but 6mm in large panes

0.01

0.04

0.02

Glass or glazed ceramic wall tiles, marble

0.03

0.01

0.02

Plastering on solid backing (gypsum or lime)

0.3

0.02

0.04

Plaster on lath, air space, solid backing

0.03

0.1

0.04

Plaster on plasterboard ceiling, large air space

0.2

0.1

0.04

Plywood or hardboard on battens, solid backing

0.3

0.15

0.1

Same but porous absorbent in air space

0.4

0.15

0.1

Exposed water surface (pools)

0.01

0.01

0.02

Timber boarding on joists or battens

0.15

0.1

0.1

25mm sprayed fibers on solid backing

0.15

0.5

0.7

Carpet, e.g. Axminster, thin pile

0.05

0.1

0.45

Same, medium pile

Common absorbers

Reflected sound Absorbed sound

70

52.5

35

0.05

0.15

0.45

Same, thick pile

0.1

0.25

0.65

Carpet, heavy, on thick underlay

0.1

0.65

0.65

Curtain, medium fabric, against solid backing

0.05

0.15

0.25

Same but in loose folds

0.05

0.35

0.5

25mm glass wool on solid backing, open mesh cover

0.15

0.7

0.9

Same with 5% perforated hardboard cover

0.1

0.85

0.35

Same with 10% perforated or 20% slotted cover

0.15

0.75

0.75

50mm glass wool on solid backing, open mesh cover

0.35

0.9

0.95

Same with 10% perforated or 20% slotted hardboard cover

0.4

0.9

0.75

3mm hardboard, bit felt backing on 50mm air space on solid wall

0.9

0.25

0.1

Two layers bituminous felt on 250mm air space, solid backing

0.5

0.2

0.1

25mm polystyrene slab on 50mm air space

0.1

0.55

0.1

50mm polyurethane foam on solid backing

0.25

0.85

0.9

25mm wood wool slabs on solid backing

0.1

0.4

0.6

Same but on 25mm battens

0.15

0.6

0.6

Same but plastered, mineral wool in cavity

0.5

0.2

0.1

6mm fibrous cement sheet on battens

0.23

0.5

0.2

Burgess perforated metal tiles, 38mm glass wool

0.15

0.7

0.8

Caneite, 20mm softboard tiles on solid wall

0.15

0.45

0.8

Celotex 13mm perforated tiles on solid wall

0.1

0.4

0.45

Same but on 25mm battens

0.1

0.45

0.4

Proprietary absorbers

17.5

0 125 Hz

250 Hz

500 Hz

1000 Hz

2000 Hz

4000 Hz

51

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Alternating Acoustics Surface texture and materiality play an important role in altering and changing the acoustic environment. I begin to investigate this further by considering a range of forms that integrate movement and material duality.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Initial Panel I began to develop the notion of a panel that was both convex and concave. Movement, fluidity and change is important, I want people to come into the structure and manipulate it to form different sounds. In this initial drawing I considered the external surface being made in plywood with a kerf cut pattern, as explored earlier in the research, to create the desired bend. To create a material contrast with the interior treatment I investigated smooth, metallic materials for use on the exterior.

Bronze This material is warm and opulent. Overtime it would begin to oxidise and turn a light green colour, suggesting permanence. There is no colour or material reference for this material on the immediate site, which may be too much given the natural sensitivity of the area. This material is also relatively expensive.

Aluminium Aluminium is more muted in comparison to the bronze, this material would work in terms of colour whilst providing a gentle contrast with the site in terms of high-tech vs nature.

Mirror The use of this material would truly blend the project into the landscape when all panels are fully closed. Rotating each panel would slowly reveal the inner.

53

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Mesh Mixer Moving from the kerf cut inner ply. I began to play with the notion of using clay directly to form the surface. To create panel like shape I brought the 3D scan of crocodile into mesh mixer. This enabled me to stretch the form and make precise cut edges.

54

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Direct Clay I started to play with the notion of applying the clay directly onto the board in order to reduce parts and create a more simple and cost effective module.

Desired clay texture/pattern

Desired clay texture/pattern

Void for structural element

Void for structural element

Back panel

Back panel

Grip rib

Applying the clay to a flat frictionless surface will result in the medium slipping from the board as there is no texture or grip to the back panel.

Creating ribs will prevent the clay from slipping and will give support to the medium whilst drying.

55

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Formwork Finish Pushing the design I sought to explore a different technique of construction. Rather than simply applying the clay, I could create a mould using formwork as finish. Concrete would create different acoustic properties and be more permanent.

Outer formwork/finish

Concrete

Blue foam mould The metal outer leaf would be temporarily fixed to the blue foam inverse (cut to desired pattern/form). This would create a seal and enable to concrete to be poured directly into the panel. This would need to be poured whilst the panel is upright.

Grip rib Void

The interstitial grip/support ribs need to have voids cut into the lateral span of material, this will enable concrete to move freely throughout the mould.

Whilst this option presents a longer term solution to the aforementioned I believe it is too fixed when considering the adaptability I want to achieve.

This was a useful digression as it opens up further dialogue surrounding material, proving that the panel formation can accommodate a range of processes.

56

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Lo-Fi/Hi-Fi Given my previous experimentation I began to refocus again on cardboard and clay and look to create a durable weatherproof panel that also offers stellar acoustic properties. Sandwiching the corrogated cardboard material with PETG and clay will trap air within the cardboard structure.

I. Galvanised Steel Pole Steel will give strength to the structure as well as provide adequate weatherability and long-term durability.

II. Clay Using clay as the base acoustic medium works across a range of levels, packing this against the cardboard enables air to be trapped within the corrugation.

- Pliable - Natural (biodegradeable) - Inexpensive

IV.

III. Corrugated Cardboard Corrugated cardboard is a paper product made by sandwiching a corrugated medium layer (flipped layer) of paper called “fluting” between two layers of flat paper called “liners.” The inner layer is called the corrugated medium and the outer layers are the inside and outside liners. The liner board is manufactured from long fibers in order to make it strong and hard-wearing. It is crafted with the same type of material, referred to as kraft paper, used to make the common brown paper grocery sack.

The fluting is manufactured from short fibres in order to make it stiff and resistant to pressure. This fantastic construction forms rows of stiff waves capable of sustaining large weights. Furthermore, the freely circulating air in the waves provides an excellent protection against temperature fluctuations.

IV. Polyethylene Terephthalate Glycol (PETG) PETG is a water clear material designed to be easy to use in a range of applications. It’s a thermoplastic polymer created through the co-polymerisation of PET and ethylene glycol. Its properties are:

II.

- Transparent, with a high gloss surface - High impact resistance - Incredibly ductile - Excellent chemical resistance - Easily formable - Capable of reducing sound transmissions - Sterile - Recyclable - Water repellant

III.

Polyethylene Terephthalate Glycol fabricates well throughout a number of different processes including cutting, drilling, bending, routing and polishing. It’s also possible to silk screen PETG using various inks. It also bonds well with solvents or adhesives. PETG is a high-impact material but it’s not entirely suitable for use in outdoor applications, although UV resistant stabilisers can be added to it. The UV rays in solar radiation will cause the material to degrade over time, this exposure depends on temperature, humidity, angle of the sheet in respect to solar radiation and intensity. Degradation can be seen by the plastic becoming more yellow and a decrease in light transmission and its mechanical properties.

57

I.

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Acoustic Pressure The Acoustic Pressure is the force of sound on a surface area perpendicular to the direction of the sound. The Acoustic Pressure can also sometimes be called The Sound Pressure. The standardised unit for acoustic pressure is Pascals (Pa), this can be worked out easily by the following: • • • • •

Unit for force is N (Newton) Unit for surface area is m2 (metre squared) Acoustic Pressure is equal to Force divided by Surface Area.

Acoustic Pressure = Force/Surface Area; unit is N/m2 Therefore unit of acoustic pressure is equal to N/m2 which is also equal to Pascals.

Acoustic pressure level Acoustic pressure level is measured on a logarithmic scale and decibels is a standard for Acoustic Pressure level. The lowest acoustic pressure that a human is capable of hearing is 20 micropascals. This is very small and this is why we convert pascals into decibels for everyday usage. 20 micropascals is used as a standard for acoustic pressure and is equal to 0 decibels.

20 micropascals = 0 db The maximum acoustic pressure of human hearing has not been fully established but there has been an estimate to the maximum acoustic pressure which is around 120 decibels or 130 and is known as the pain threshold. But what is considered painful for one person may be considered entertainment for others. Usually younger generations are able to withstand louder sounds than older generations.

Acoustic impedance When the amplitude of the wave is minimal, acoustic pressure and the velocity of the particle has a proportional relationship. The proportion of acoustic pressure and velocity is known as the acoustic impedance. The factors of acoustic impedance are the following: properties of the wave the object that the wave is progressing through Z = P/U, Where Z is acoustic impedance, P is sound pressure, U is velocity of the particle Distance law When observing an experiment on acoustic pressure, it is vital for the measurement of the object from the source, the acoustic pressure has a inverse proportional relationship with distance from the source.

Acoustic pressure level Acoustic Pressure level is measured on a logarithmic scale and decibels is used as the reference. The threshold of human hearing is 1 decibel. Nearly all measurements of sound levels are compared to one decibel. When measuring the sound source, the distance of the sound source from the microphone is not included when the acoustic pressure level is calculated. One metre from the source is usually the distance used

58

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Sonic Scenarios Considering the implications and theoretical behaviour of sound reflecting of concave and convex panels I set about creating a diagram showing a selection of possible configurations and mapping on sonic behaviour. This is only quantified on a 2D plane and does not take into account the upper panels within the structure. The possibility of combinations from rotating a single panel to all and everything in between results in an infinite number of potential combinations.

59

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Proposed Form Assembled in a perfect cylinder, the form is natural sympathetic to the surrounding natural landscape which in itself has no straight lines or 90 degree angles. The structure has to accommodate the rotating panels as well as external forces such as wind.

The initial structural design places the supports beside each panel, this move was made in order to reduce the amount of gaps throughout the structure. This strategy requires additional support in the middle of the panel so it can pivot.

60

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

The revised strategy seeks to move the structure into the middle of each panel. This simplifies the overall strategy and enables the panel to rotate around the structural elements.

Experiencing Cymatic Creating a strong relationship with the cymatic machine is an important narrative to display in the building. To achieve this the circular plate is forged in the middle of the space, equidistant from the outer acoustic envelope. The verticality of the space creates distance for reverberation.

Roof/rainwater collection Clay panel

Oculus

Steel support ring

Roof support

Textured floor finish

High Tide

High tide water inlet

Cymatic device Cast concrete base

Low Tide

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Reveal I wanted to create a strong progression with the device. Approaching it from afar it looks cylindrical and perfect, reflecting and blending into the natural landscape. As the user begins to open up and play with the panels the structure reveals itself in the landscape, similarly to the build up to a crescendo.

REVEAL

62

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Base development The base is the primary source of stability for the structure. The vast array of marine life that relies on the seabed requires a minimal approach. Exploiting the base as a device to manipulate or provide viewership over the lough is essential.

1.

2.

3.

REMOVABLE CANVAS ROOF IN TENSION

GALVANISED STEEL RING, 50mm DEPTH

GALVANISED STEEL ROOF SUPPORT ROD

LOWER STEEL OCULUS RING

SURROUND SOUND SPEAKER

GALVANISED STEEL RING, 70mm DEPTH

SKF CYLINDRICAL ROLLER BEARING, 4 ROW

TEXTURED ACOUSTIC DAMPENING SURFACE

HOLLOW STEEL POLE 88.9MM OUTER DIAMETER, 4MM WALL THICKNESS

CYMATIC PLATE STAINLESS STEEL POWDER COATED BLACK

LAYERED CARDBOARD PANEL

PLYWOOD FACED SEATING

THREADED STEEL PINS 100mm x 10mm DIAMETER

DURA THREAD ANGULAR QUARTZ FLOOR MESH

BENT HOLLOW STEEL PRIMARY SUPPORT RING 300mm x 150mm, RED POWDERCOAT FINISH

TEXTURED STAINLESS STEEL

High Tide

SOLID CAST GALVANISED STEEL SUPPORT FOOT

High Tide

SEABED SEABED

SEABED Low Tide

Low Tide

The design began with a cast plinth base, this would ensure optimal stability when considering air and sea forces that would subject itself to the structure. Cast shallow and wide in concrete, the base has a considerable impact on the seabed. Creating this enabled the structure to provide an inlet of seawater onto the cymatic plate.

The last iteration pushes the idea of relationship between lough and form. The cast concrete plinth was replaced by a see through angular quartz mesh called dura thread. When users are walking though the structure they can see and hear the lapping of the lough as the tide rises and falls.

Reducing the impact of the base on the seabed the design was lifted on the stilts above. To achieve this, the base itself needed to become lighter so that the 12 galvanised steel poles could carry the load.

63

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Concept Model To visualise the form of the project in the reality I set about creating a card and balsa model to understand the proportion and verticality of the scheme.

Panel

Shadow

Base

Panels etched to create areas that could be gently bent into the required curved shape. Each side of the panel was glued enabling the pole to be present in the middle

The curved forms create interesting dialogues with the space, whether this be light, wind, sound or precipitation this form manipulates various forces exerted.

The pile foundation rods which double up as the primary support for the building enables the fundamental adaptation or demount-ability of the structure, this could be in response to longer term environmental change.

64

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Panel Rotation The panels collectively make up the outline of the structure, the enclosure that people use to perceive it in the landscape. The design is intentionally non-fixed in order to give patrons an ability to manipulate the form to suit their own needs. This interactional makes users more cognisant of the impact sonic vibration has on us.

60 hz

80 hz

120 hz

When closed the subject forms a perfect cylinder. Slight gaps in the facade system enable each panel to move independently of the other.

The process of transformation is relatively fast, each panel can rotate in and of itself 360 degrees. This enables a figuratively infinite amount of possibilities.

When open the structure can indeed let in more sound, light and air.

65

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Large Panel Production Initially formed to provide a mould for casting concrete. The development of the design has developed to accommodate the cardboard itself as the primary buildup for the rotating panels. The nature of the cardboard members is such that air is trapped amongst the corrugations of the material.

Experimentation with shadow

Various air pockets between the layers

The corrugation of the material has the potential to create an insulating air barrier to reduce the impact of sonic frequencies from within and outside the structure. Clay and the vacuum formed transparent sheath creates a weather tight construction.

66

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Reconstructing for final model In order to reflect the change in design, the existing panel was taken and transformed into the new lighter design. Process of disassembly was relatively quick. The panels themselves could be manipulated in ways other than the curve.

Removal of applied clay

Disassemble units

Cut other curve

The clay can be stripped back off the cardboard structure after a period of time, this enables necessary re waterproofing to take place as well as for a new surface of clay to be created that can be manipulated for its various aesthetic and acoustic properties.

The panels were stripped into bundles of approximately 3 layers. This enabled each section to be cleared of any loose paper layers or other obstructions. Each bundle was marked up ready to be cut.

The bundles were then cut to form using a jigsaw cutter. The process of this was relatively quick. The scrap pieces were taken and recycled.

67

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Each bundle was then bonded together using PVA glue. Approximately 6 glued sections where clamped and sat to rest. The cable tie and dowel rod provides lateral reinforcement as the piece dries.

68

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Vacuum Forming

To create a waterproof barrier I went about a process of applying 3mm PETG plastic to the outer side of the cardboard construction.

This would create a different laminar plane in which to manipulate further aspects of the overall duality of the panel.

Given the dimensions of the panel I needed to reach out to industry in order to accommodate the forming. I established contact with Donite Plastics who would carry out the forming on their industrial sized bed.

I. Cardboard panel placed on bed and supported with a piece of timber to preserve curve.

II. Gaps sealed around the edges to present material sucking through and bursting.

III. Heated to approximately 180 degrees celsius.

IV. Plastic was placed into the former and heated until it became pliable V. The Mould was then lifted up from the bed below to catch the plastic VI. Air pressure was applied enabling the plastic to wrap tightly around all surfaces

Advantages of using cardboard: - Cheap - Easy to cut into shape - Imbedded corrugation allows air to suck down onto machine bed Disadvantages of using cardboard: - Corrugation does not produce a smooth surface, holes suck through plastic (potential to play with air settings).

- Limited form runs in comparison with condensed rubber.

With special thanks to: DONITE PLASTICS 8 Station Rd, Saintfield, Ballynahinch BT24 7DU www.donite.com

69

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Seal I wanted to maintain the aesthetic of cardboard and showcase the fact that unassuming materials can be used, with slight alteration and treatment for construction.

QR Scan code with mobile to view manufacture video.

70

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

71

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Acoustic Foam Surface To further extend the acoustic properties of the panel I had the clay textures developed earlier vacuum formed in 16mm foam. This material has excellent sound dampening qualities as there is a considerable amount of micro air bubbles imbedded within the material, additionally making it lightweight.

72

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Crocodile internal texture

Crocodile external texture

Frog internal texture

Armadillo external texture

Frog external texture

73

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Plan

4666mm

74

Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Site Plan

THE STEP

Pontoon built from existing castle entrance

CASTLE

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Cymatic Table

PLAN

Hearing trumpet

Cymatics plate Seats that close in flush to the table

Electronics control centre

SECTION

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Constructing Prototype 1:1

I. Trim off excess PET plastic around cardboard form

II. Apply clay texture to internal surface

III. Construct base

IV. Place panel atop pole

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Final Outcome

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Render I

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Render II

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Render III

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Render IV

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Exhibition Plan

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Virtual Reality To develop a greater spatial awareness of the structure I placed the 3D model into sketchfab. With this programme I can set a person in scale so when you place on the glasses you are life size within the structure. QR codes are embedded throughout the portfolio.

Sketchfab VR editor

Google Cardboard 3D glasses

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Augmented Reality I have also developed augmented reality features for my main 3D elements, this enables you to view the model at any scale within the backdrop of a physical space. QR codes are embedded throughout the portfolio.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

TECHNOLOGY

Claymatic Axo Material Composition The project is situated on Mahee Island in close proximity to the Nerdrum Monastic site. The scheme draws on the natural sonic environment, providing a stage for the investigation and appreciation of the lough. The adaptable structure will be anchored in the lough by way of pile foundation ‘stilts’. The twelve hollow 15m long galvanised stainless steel poles also double up as the primary structure for the panel elements and also contain any electronics necessary to service the structure.

Placed in the intertidal zones, 3.4 - 4m high tidal fluctuations slowly transforms the buildings presence in the landscape bi-daily.

This metaphor has been expressed within the adaptability of the panels and moveability of the structural stilts in response to sea level rise. Steel rings provide lateral reinforcement. The facade system consists of a series of rotating concave/convex panels which enable users to alter the acoustic properties of the structure. Materials have been selected based on acoustic properties/ performance.

1.

2.

1.

Vacuum form clear 3mm PETG material to form the waterproof skin

3.

2.

Cardboard layered forms the bulk of the panel structure, primed in waterproofing spray the gaps insulate sound.

3.

Clay interior, able to be manipulated for specific performances or to reflect seasonal changes

4.

Angular quartz base plate

4.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

REMOVABLE CANVAS ROOF IN TENSION

GALVANISED STEEL RING, 50mm DEPTH

GALVANISED STEEL ROOF SUPPORT ROD

LOWER STEEL OCULUS RING

SURROUND SOUND SPEAKER

GALVANISED STEEL RING, 70mm DEPTH

SKF CYLINDRICAL ROLLER BEARING, 4 ROW

TEXTURED ACOUSTIC DAMPENING SURFACE

HOLLOW STEEL POLE 88.9MM OUTER DIAMETER, 4MM WALL THICKNESS

CYMATIC PLATE STAINLESS STEEL POWDER COATED BLACK

LAYERED CARDBOARD PANEL

PLYWOOD FACED SEATING

DURA THREAD ANGULAR QUARTZ FLOOR MESH

DURA THREAD ANGULAR QUARTZ FLOOR MESH

THREADED STEEL PINS 100mm x 10mm DIAMETER

BENT HOLLOW STEEL PRIMARY SUPPORT RING 300mm x 150mm, RED POWDERCOAT FINISH

TEXTURED STAINLESS STEEL

TEXTURED STAINLESS STEEL

SOLID CAST GALVANISED STEEL SUPPORT FOOT

High Tide

High Tide

SEABED

SEABED

Low Tide

Low Tide

REMOVABLE CANVAS ROOF IN TENSION

GALVANISED STEEL RING, 50mm DEPTH

GALVANISED STEEL ROOF SUPPORT ROD

LOWER STEEL OCULUS RING

SURROUND SOUND SPEAKER

GALVANISED STEEL RING, 70mm DEPTH

SKF CYLINDRICAL ROLLER BEARING, 4 ROW

TEXTURED ACOUSTIC DAMPENING SURFACE

HOLLOW STEEL POLE 88.9MM OUTER DIAMETER, 4MM WALL THICKNESS

CYMATIC PLATE STAINLESS STEEL POWDER COATED BLACK

LAYERED CARDBOARD PANEL

PLYWOOD FACED SEATING

THREADED STEEL PINS 100mm x 10mm DIAMETER

BENT HOLLOW STEEL PRIMARY SUPPORT RING 300mm x 150mm, RED POWDERCOAT FINISH

SOLID CAST GALVANISED STEEL SUPPORT FOOT

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Base Plinth Construction

Benefits - Anti-slip surface - Lightweight - Fire resistant - Corrosion resistant - Impact resistant - Maintenance free

Characteristics - Resistant to sea water - No thermal expansion - Antiskid - Resistant to fungus and algae

Installation - Easy to cut, shape and drill - Quick to install and fix

32mm open mesh size

12mm open mesh size

Secondary support pile

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Material Specification

Panel thickness & mesh size information 12.7

25

30

38

50

Dura Tread

63

Standard

x Metal Grating

x

x

x x

12

Mini

26

8

Micro

Open mesh size (mm)

32

22

x

45

42

14

x

x

x

x

x

x

Chequer Plate

0

0.275

0.55

0.825

1.1

British Standard Slip Resistance Test Results

The manufacturer has tested the material in line with the B.S. 4592 test, devised to assess the slip resistance of industrial type wet flooring intended for use in water and wet areas. The co-efficient of friction is calculated by determining the mean angle of inclination that an operator can safely maintain when the flowing is subjected to a continuous stream of water.

Colours Standard colours are Green and Grey, other RAL colours are available on request.

Note: Due to the printing process colours shown as a guide only.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Comparative wind analysis Simulating wind flow comparing partially open and fully closed.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Air Streams Computational fluid dynamics enables me to run air through the model at various speeds and directions. From this I was able to consider stresses wind has on the structure.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Material Model 1:20 material representation of final built outcome.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

COMPLIANCE

Project Description The scheme is a sonic folly, a structure that enables users to manipulate the acoustic properties of the structure through the rotation of curved panels.

Site Description The site is located on Mahee Island in close proximity to the Nendrum Monastic site approximately 11 miles from Newtownards and 40 minutes drive from Belfast City Centre. The immediate site hugs the shore adjacent to Mahee Castle and the stone crossing that connects Reagh Island with Mahee Island. The area is largely rural with agricultural activities taking place around the site. Mahee Island Golf Club lies to the South East and there are several dwellings scattered across the island.

The site does not currently have a designated access point however the proposed access point will build off the entrance gateway to Mahee Castle off Mahee Island Road (with modifications as required by the Roads Service).

There is a substantial gradient on the site with a fall of approximately 5m which is largely made up of x3 main plateaus that step down from the South West to the North East. The site is enclosed from the road by a 1.5m high dry stone wall. Large sections of the West are screened by areas of dense vegetation. There is a fantastic outlook over Strangford Lough from the North of the site.

Design Principles The scheme respects the character of the site and local setting and makes a contribution to the wider community. As such the design has been considered to ensure that: • • • • •

It takes account of the existing gradients and negates the need for retaining structures or any cast foundations, thus limiting the impact on the seabed.

It respects the local context and existing natural character of the site.

It provides a sustainable, innovative and pleasant place to gather.

The landscape is sympathetically integrated.

To amplify the natural sounds of the lough and local area.

As the project is located in Northern Ireland, the Northern Ireland Building Regulations Guidance Document was used for the purposes of this report.

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Local Planning Legislation Area Plan Context The control of the site falls under the auspices of the recently formed Newry Mourne and Down super council which received devolved planning powers in 2015. A timetable for implementing a development plan is scheduled to take place next year. For now the most up to date Area Plan is as follows: - Ards and Down Area Plan 2015 (ADAP) Whilst there is no history of planning decisions having been made on the subject site, planning was given on the 7th November 2014 for the erection of a two storey extension to front of dwelling and roof terrace to rear. The proposal includes the conversion of an existing boat house into a garden room (X/2013/0479/F).

Various conditions applied to the above development included: No site works of any nature or development shall take place until arrangements have been agreed in writing with the Department for archaeological surveillance of top soil stripping and site preparation and for the recording of any archaeological remains which may be identified. Reason: To ensure that any archeological remains which may exist within the application site are properly identified and recorded.

Access shall be afforded to the site at all reasonable times to any archaeologist nominated by the Department to observe the operations and carry out archaelogical recording. Reason: To ensure the identification evaluation and appropriate recording of any archaeological remains which are exposed by the operations.

No dumping or storage of any material associated with the proposed development shall take place within the designated site.

Reason: To protect the integrity of the designated SPA/SAC/ASSI. Further Statutory Guidance Given the location of the proposed development consideration has to be given to the fact that the area is a Designated Special Area of Conservation and Special Protection any development on the proposed site must also align to the requirements and conditions set out by the European Union under the Habitats Directive 92/43/EEC (Flora and Fauna). Further development must comply with the Strangford Lough Natura 2000 and Ramsar Conservation principles.

- Department of Agriculture and Rural Development’s Forest Service .

- Department of the Environment and Heritage Service.

Further Guidance - Strangford Lough and Lecal Action Plan 2013 - 2018, produced by the Strangford Lough & Lecal Partnerships.

Stakeholder Engagement The project will build on the aspirations of the local people. Throughout the duration of the development, input will be sought from a wide array of stakeholders, this will be managed through a bespoke stakeholder management and engagement strategy. Novel communication techniques from VR through to renders and tactile models will be used to convey the merits of the scheme and assist in deep and meaningful collaborative development.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Fire Safety

Smoke/heat detectors Automatic smoke and heat detection alarms are present in the building, attached to each upper speaker. If abnormal heat is detected or smoke, an automatic call will be made to the fire department.

Fire is an important factor to consider in any construction. We will liaise closely with a fire management strategist to ensure that all best practices are observed. The panel is constructed from cardboard, clay and PET plastics. This innovative and novel technique has not gone through any formal testing procedures therefore it is imperative that test would be carried out to ensure the safety of the panels themselves.

Clay is non-flammable and can withstand high temperatures before it disintegrates. The PETG plastic outer shell is thermoset.

Due to its low forming temperature, PETG can be easily vacuum or pressure-formed and bent by heat. Its density is 1.27g/cm3 and its maximum service temperature is about 78˚C meaning that it shouldn’t be continuously exposed to temperatures above 65/70˚C. PET is usually more fire resistant then PETG, having an ISO test flammability rating of H-B which is relatively low.

If planning permission is obtained, I would seek to explore a range of alternative plastics that could be used in order to satisfy compliance demands. To alleviate and minimise the risk of fire occurring in the first place a series of sanctions would be imposed on visitors.

Opposite is a series of devices that can be used to mitigate and contain fire if such an event should occur.

Early stage fire, evacuation begins/sonic boom

If not contained smoke begins to intensify as the fire burns

Presence detectors Presence detectors in the building will alert the structure if there are people and how many. This information along with information from the smoke/heat detector will feed into the structures controls and the best course of action will be taken to allow means of escape and smoke/fire control.

Sonic boom The in-built speaker system could be used to extinguish the fire as mechanical pressure waves that cause vibrations could be used to starve the fire of oxygen and would therefore be snuffed out. Presence detectors would ensure no one is in the building at the time that the boom goes off.

Auto rotation If a fire breaks out, presence detectors would check the structure, if patrons are inside, a mechanical rotation system could throw all doors open simultaneously. Controlling the openings could further be used to extinguish the fire.

Smoke envelops the bulk of the structure

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Point of no return

Fire Safety The design complies with required travel distances (in one direction as set out in table 2.3 of Technical Booklet E (shown below). Categorised in purpose group 5, ‘Assembly and Recreation’ the maximum allowable travel distance in one direction is 18m. The largest travel distance within me design is 10m along an exterior gangway. Escape distance from inside the structure to outside is less than 2m. This falls well within the regulations.

+5m

(5) In industrial and storage buildings the appropriate travel distance depends on the level of fire risk associated with the processes and materials being used. The dimensions given above assume that the building will be of normal fire risk. If the building is high risk, then lesser distances of 12 m in one direction and 25 m in more than one direction, should apply.

+6m

+4m +7m

+3m +8m

10m +8m +3m

+7m

+4m

+5m

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

+6m

Ventilation The scheme makes use of natural ventilation throughout, there is no mechanical ventilation instead a system of cross ventilation (gaps between panels) and stack ventilation (grill in floor) ensure that the building is breathable. The ventilation strategy for the structure draws on the ability to manipulate the series of panels to control the intensity of cross ventilation. The proposed design is not an enclosed structure, as it seeks to be at one with the lough side environment, therefore the enclosed environment is always subject to a high air rate exchange, continuously drawing in fresh air from the natural surrounds. The moveability of each panel enables the structure to control airflow. This could be accomplished digitally by way of detectors and mechanised systems.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Ventilation Given the location of the structure, the local area has very few pollutants. Observations of local stone surfaces show white lichen which is a prime indicator of good air quality. The maps below also indicate relative low levels of particulate pollutants in the immediate surrounds.

A canvas roof, mounted on a removable lateral brace enables the structure to be open air. When the roof is in place In accordance with section 2.59 of Technical Booklet K, all high panels will be operated via automatic controls including the use of humidity sensors. This is not an extra cost to the structure as motorised panels are already in place. Manual override controls will also be provided locally at each top opening to ensure that are not left open or closed during inappropriate conditions.

Based on earlier wind analysis, the control of the structures panels can be automated to create desired airflows, not only to create a comfortable environment, but also to influence performances.

Table D1 Guidance on ventilation intake placement for minimising ingress of pollutants In areas where predominant wind comes from opposing directions (e.g. a valley location) the air intakes and outlets should point in opposite directions. In complex urban layouts, complex wind flows are likely to occur. In these cases, expert advice should be sought

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Sustainability CARDBOARD In line with both the client requirements, the building will be assessed for its environmental impact and sustainability using the Building Research Establishment Environmental Assessment Method (BREEAM).

Building projects are assessed at the design and post-construction stages using a system of environmental issues grouped within the following categories: Management, Health and Well Being, Energy, Transport, Water, Materials, Waste, Land Use and Ecology, and Pollution.

The assessment of the building results in a final report and BRE Global BREEAM certificate detailing the performance of the assessed building against the environmental issues covered by the BREEAM criteria. The building’s performance is expressed as a BREEAM rating of Pass (score >30), Good (>45), Very Good (>55), Excellent (>70) or Outstanding (>85).

Receiving area

Bulky items

Processing area

Contaminants

The current target for this project is BREEAM ‘Excellent’ and will be assessed through BREEAM UK New Construction Technical Manual. The design and construction of the project has been considered with the following: - Identified waste stream, bicycle boxes (up-cycled) - Low embodied C02 - Low U-value of constructed panels - Can be stripped down and recycled effectively - Natural clay, earth material - An entire structure can be created

Storage

Cardboard

Manual sorting line

CLAY Contaminants

Clay from Earth Application

Disintegrate in water

Apply for performance

With special thanks to:

ON YOUR BIKE

Remove clay, falls into water

16 Balloo Ave, Bangor BT19 7QT www.onyourbike.co.uk

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Disposal

Sustainability Inhabited areas are serviced by natural light

Environmental Impact Report The outline application will be a considered EIA development, and therefor an extensive environmental assessment will be carried out in support of the application submission. I will engage with an environmental consultant to review the EIA to identify if any further environmental information is required. At this stage, the following studies have been identified that need to take place: - Cultural Heritage Assessment - Bat Survey - Soils & Geology Assessment - Noise Impact Assessment - Travel Plan

Rotating panels encourages visitor movement

Natural cross ventilation

These impact assessments are prepared in draft, and when finalised, will be submitted as individual environmental reports, with the planning application - this approach will be discussed and agreed with Planning NI at the initial pre-application discussion meeting.

A Habitats Regulation Assessment (HRA) will be undertaken by NIEA, as the competent authority, as part of their consideration of the outline planning application. As part of the outline planning submission, the environment consultant will submit a ‘shadow’ HRA, which will provide all the detail and information necessary to allow NIEA to complete their assessment.

Recycled materials Demountable and compact, can be brought to site easily

The project has been considered fully so that its negative environmental impact is reduced. This strategy revolves heavily around recycled materials, and passive ventilation systems.

Automatic presence detectors prevent audio boosters and lighting systems from running when no one is in the structure

In-built natural rainwater strategy

Given that the structure is built on-top of the seabed, it is therefore essential to consider the use of clay on the natural environment. Given that this is a natural substance, this wont have a detrimental impact on marine life when removed and simply falls into the water. Overtime, the clay re-absorbs water and becomes pliable again. The potential exists to add fish food balls to the clay mixture so this could provide an additional food source to marine life.

Stack Ventilation

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Thin poles have minimal impact on the seabed

Access The building largely complies with access in that it has level access in and around the structure. In its current state of design the project does not include railings. This is something that would be required if the project was to be built. Modifications can be made to the structure to enable good access.

1. Gangway Level Material contrast Surface runoff Slip coefficient

Given the floor makeup it is not possible to wear healed shoes within the structure as these may get caught in the grilling and cause a hazard, flat shoes would be best to wear.

At present the structure does not comply with disabled access. Despite level access when the panels are rotated the maximum gap formed between is 900mm this can be overcome by using less panels or simply making them wider.

2. Steel panel Level Material contrast Surface runoff Slip coefficient 3. Threshold ring Level Material contrast Surface runoff Slip coefficient 4. Inner chamber Level Material contrast Surface runoff Slip coefficient

1.

2.

3.

COMPLETE LEVEL ACCESS

4.

High Tide

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

PUBLIC CO-LAB

Finding Foyle The project is about rediscovering the City of Londonderry. Situated on the banks of the River Foyle, the project is a range of small to medium scale interventions that force different interactions in order to unlock information about the particular place. Constructed in chipboard, the project will be constructed in the summer of 2018.

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

What our project is achieving

Health and wellbeing

Sensory experience

Reveal Look

Community cohesion

“Don’t just look- see”

Pause “What are you hiding from?”

Engaging show space

Community support

The groups are project aims to help and strengthen

“A problem shared is a problem saved “

“Don’t just hear – Listen”

“Take a moment”

Hide Listen

Youth development

Seek

“Not until we are lost do we begin to understand ourselves”

Culture

Feel

“ Its ok not to feel okay”

Arts

Reflect

Heritage

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

“ Knowing yourself is the beginning of all wisdom”

F I N D I N G

F O Y L E

REVEAL ‘A problem shared is a problem halved’ A box which reveals the artefact behind railings...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

LOOK ‘Don’t just look - see’ An open box to display x2 artefacts, designed to entice the public to interact with the treasure hunt...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

PAUSE ‘Take a moment’ A space on the bench to consider the artefacts and enjoy the river view...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

HIDE ‘What are you hiding from?’

A space to contemplate with a mirror for reflection...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

LISTEN ‘Don’t just hear - listen’ A box with a series of holes cut through to encourage users to experience the sounds of the river front...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

SEEK ‘Seek and you shall find’ A series of operable boxes design for the exploration of the artefacts hidden behind doors...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

FEEL ‘Touch’ A box with two holes cut out on either side so patrons can feel the object without seeing it...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

REFLECT ‘Knowing yourself is the beginning of all wisdom’ A place to rest and reflect at the end of the treasure hunt, with a slot to place feedback...

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

DISSERTATION

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Phenomenon of Street Morphology and Materialisation “The world is not to be put in order. The world is order. It is for us to put ourselves in unison with this order.” ― Henry Miller

Surface treatment and street furniture plays a major part in shaping place and influencing the usability and quality of the built environment.

Pavements, kerbstones, bollards, trees, traffic barriers and lamp posts amongst others are not only physical manifestations that are arguably required for a modern street to function, but elements that Architects and Engineers can manipulate to influence aesthetic, safety and character as well as subtly control street activity and behaviour.

crossings, barriers and warning signs have become the common vocabulary of the street - giving motorised traffic clear domination of our streetscapes and pushing pedestrians and cyclists further to the periphery. This has led to the emergence of large, lifeless ‘auto sewers’ Dover, V. and Massengale, J. (2014), that over time have had a significant and detrimental impact on positive engagement with our urban streetscapes.

Precedent, budget, maintenance, lifespan and replacement are major factors that affect the choice and deployment of such street elements and unless private, normally fall under the remit of under resourced councils, often prompting the use of quick, easy and relatively straight-forward elements.

The concept of ‘shared space’ first conceived

by Hans Monderman, a Traffic Engineer from the Netherlands, in the late 1970’s is starting to gain traction across the world with developed countries showing a renewed interest in evolving systems that recognise the ability of people to resolve potential movement conflicts if treated as intelligent, self-organising citizens.

Ever since the Buchanan Report Traffic in Towns (1963), Planners have worked to create a clear segregation between various traffic flows. Overpasses, underpasses, signalled road

Monderman argues that whilst traditional tools of separation are necessary in certain scenarios such as heavily trafficked motorways, where the single purpose is the movement of traffic, in

the complex world of the public realm with its multitude of functions, they become redundant on inner-city streets. In fact, it is argued that the less street clutter you experience, the more you can influence behaviour. This, he says, is because environmental context has a stronger influence on behaviour than legislation and formal rules.

He concedes that draft manuals for streets are now beginning to recognise that solutions should not be based on universal standards but a more nuanced approach which considers the desired outcomes surrounding each individual context.

My research will focus on how pattern, colour, texture and materialisation can influence street behaviour, rather than the use of pertinent physical signs and barriers. Referencing Nudge Theory and aspects of behaviour science, I will investigate common streetscapes and consider material as a form of positive reinforcement and indirect suggestion to achieve non-forced compliance in influencing motive, incentive and decision making.

Key words: streetscape, materialisation, nudge theory, shared space, pattern, texture

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Street Texture Observation For my research a took photos of range of street texture in Belfast, Amsterdam and Paris to try to develop a greater appreciation for how colour, texture and materialisation can impact on street behaviour.

Figure 24: Gate track meets cobble

Figure 25: Coloured stone clash, manhole cover

Figure 28: Texture, contrast and crossing

Figure 29: Angular friction

Figure 26: Step, strip and pave

Figure 27: Platform, layers of threshold

Figure 30: Cobble meet kerbstone

Figure 31: Colour crossing

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

Slime Mould Experimentation To consider movement and innate flocking mentality of organised groups I grew a series of Physarum Polycephalum (slime mould) cultures in textured clay conditions to see how they would network to food sources.

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@bureaudistinto

@mznicholl

mznicholl

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast

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Matthew Nicholl Studio Without Precedent, Queen’s University Belfast