Studio 45 - 01 Resonate: A Prelude to Acoustic - Vincent Rijanto Heru

STUDIO 45

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01

a prelude to acoustic - - - - - - 2021

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Vincent Rijanto Heru

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Contents

Brief 1_ Amplifying Your Phone 03-08

Prelude Songs Chosen Observation set up Precedent

09-32

Interlude Model Iterations Aural Observations Water Ripple Analysis Light Analysis

33-44

Postlude Model Optimisations Group Findings Final Outcome

A booklet by: Vincent Rijanto Heru

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@vrh.architecture

Studio 45 - Resonate Melbourne School of Design

Appendix

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_Song-Chosen

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Researh Scope: Sort

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Group - Clarity of vocal and instruments - Increase in amplification - Increase in volume

Individual

Songs ~-►-P_la_y~] ..

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Song chosen as a sample for pure instrumental observation with piano melody as the main focus. Orchestrations include wind and string instrument without any vocalisation.

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One Summer's Day Joe Hisaishi

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Get Lucky Daft Punk

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Leave the Door Open Bruno Mars, Anderson. Paak, Silk Sonic

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- Clarity of vocal and instruments - Focus on quality of instrumental music - Amplification without bending down (sitting position)

Pen-eptions are different for different people, just like coloun~ acoustic experience 1vill he different, suljective to the listener

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Year : 2002 Genre : Japanese Classical

Year : 2013 Genre : D ance, Electronic This song provides a good contrast to the initial piece as it includes rythmic percussions and strong vocalisation. Furthermore, it includes techno-robotic sound effect that has been prominent in the last decade as another point of aural observation and analysis.

77.9mm The three songs chosen to be analysed are intentionally contrasting to test a whole range of music genre and effects.

The sound waveforms shown for the three songs clearly show the different colour of the songs. While One Summer's D ay is calm and melodical, Get Lucky provides a mix of texture that uses effects and constantly rhythmical.

Finally, D ont Leave the D oor Open completes the range with off-beat polyphonic harmonisations.

Year : 2021 Genre : Jazz 04

The final piece chosen focuses on a more off beat and loose rhythm with vocalisations that are clear and with alot of harmonisation. Together the three pieces of song chosen covers a contrasting enough spectrum for analysis.

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Observation Set up

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Sound disto1tion mqy happen as testing condition is not peifect!J 9mmetricaL H 01veve1~ consistencies are achieved as testing is a/Jvqys fi'om the same set up.

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Precedent - Parco della Musica Architect Year Place Structure Consultants

The thl'ee 'music box' volumes ef the ha/Lr that a/'e a/'ranged radial!J mates a fou1th space (cavea) that becomes an ampitheatl'e that Jollmvs the da.1~rical gl'eek ampitheatl'e.

: Renzo Piano Building Workshop : 1994 - 2002 : Rome, Italy : Lamellated Timber Beam & Steel Ribs : Arup & Partners (Structural) Muller Bbm (Acoustic) F. Z agari, E. Trabella (Landscaping)

The undulating ceiling made ef 26 cherry timber that 1'eflects and sp/'ead the sounds aC1'0.1~r the conceit hall becomes the inspiration.

This isfomalised 1vith papel' as tessellations.

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Santa Cecilia Room (Concert Hall)

Sinopoli Room (Concert Hall)

2744 seats

1133 seats

76.80m (1) x 54.40 (w) 334 m2 Stage

47.90m (1) x 33.30 (w) 136 m2 Stage

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Petrassi Room (Multifunctional Hall)

Cavea (Am pi theatre)

673 seats

3 700 - 5000 seats

29.00m 0) x 22.50 (w) 177 m2 Stage

3,656 m2 Arena

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Pa/'o de/la Musica becomes the foundation into the initialjol'm exploration ef the acoustic shell

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Production of models - digital and physical Initial investigation into acoustic properties 1n relation to a shell structure by taking into consideration structural integrity of the geometries in relation to the sound quality it produces.

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Iteration 01

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_Physical-Iterations Iteration 02

Iteration 03

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This task allmvsfor the search for the initial geometry that suit my pe1:ronal auditory sense, 1vhile later it becomes a pait if the group intervention.

This initial testsproved limited aspaper material restricts curvature if tivo dimtions 1vithout creasing, it fi11ther induces testing if geometiies that allmvsfor curvature tmvaids tivo dimtions.

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Cuts and slices to paper/ caids are introduced to test diffe1-ent cu1·vatu1·e andforms. With this technique, tivo ivqy tJtrvature can he achieved, although gaps hetiveen alloiv for some sound lo.Lr.

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Te.Lrellations fin the1 ·p 1·ovide pammete1:r to control tJtrvature.

Initial explorations do notform a shell that is fi'eestmnding finther

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Iteration 06

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_.. Double curvature is better achieved with the wicker technique. These iterations further reinforce that the taller the shell the less muffled the vocal of the songs are, yet it reduces the amplification of the instruments

Structural breach after multiple testing forms on the peak of the valley fold.

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Tessellations Iteration 08

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Square te.i~rellation pattern does not provide shellform.

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_.. Testing of non-shell formi~g geometry are done by holdmg the model.

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Customised pattern 1vhere mtangularg1id is stretched a9mmetiical!J.

Customised tessellation pattern with asymmetrical rectangular grid ratio.

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Tessellation

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Fo1med geometry has to me manipulated to form a shell that envelopes the ceiling hut leaving the sides open.

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Miura-fold tessellation pattern with parrallelogram repetitions.

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Fu1ther t------f,~-----f---+--------]..f:-------1:'.__--+-~¥--improvement ji·om the previous rc;----jf------j~-f----+-¥--------II___ _____':, te.1~rellation pattern. Opening up if the shell t------k-+---+~1:-------¥---------.::I---Y-_J improved the overall quality.

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Herringbone tessellation pattern with rectangular grid of ratio 1 :3.

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Ratio used is too laige, creating a shell that is constiicting in nature, 1vith too ma'!Y tessellations.

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Herringbone tessellation pattern with rectangular grid of ratio 1 :3.

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Modified Miura Fold tessellation pattern.

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Ratio ef the hendingfold needr to he a4Justed to ffeate a more open shell

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Iterations

Set Up Diagram

120

120

One Summer's D ay

240

Leave the Door Open

- P ia no mdo dies are clea rer

- l11strun1ents h ave better

- Slight amplificatio n o f string

clarity

instruments

- Vocalisation b econ1es m uddy - Beat s / percu ssions have

- Vocalisation b ecomes n1uddy - Percu ssions sounds less preose - l 11stn1n1ental h as b etter

better clarity but have slight

clarity

- Slight amplificatio n o f wind

91.S I

Get Lucky

instruments

Set Up Diagram

Angled

+ 45° / - 45°

- No discernible change in

quality and clartiy of i11strun1e11ts as co n1p ared to

initial set up other than slight directionality across all songs

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percussio n s clarity

- Piano melodies have better clarity - Slight muddying of string

- Vocalisatio n has better clarity - J\,finimum amplificatio n and pro jectio n - Techno / robotic effects have slightly better clarity - N o discernible chauge in percussio ns / beats

- Slight increase in vocal clarity - Minimum amplification and pro jectio n - Percussio ns / beats do not seems to be affected

- Piano melodies have better clarity - String insturments have better clarity - Wind instruments have better clarity

- Amplification and projectio n are greatly improved - Vocal and insturmental have better clarity - Percussio ns / beats are slightly muddied - Ro botic / techno effects are clearer

- Vocal clarity improved - Percussio ns / beats are slightly improved - Amplificatio n and pro jection are improved

- lvlinimum increase in

- lvLnimum increase in

proj ection and amplification - No discernible change in quality of piano melodies and

proj ection and amplification - Slight muddying of

- lviinimum increase in projection and amplification

- Slight muddying of

vo calisation

vo calisation

other instruments

-Slight muddying of

- No discernible change in

percu ssion / beat

instrumental and b ea ts / percu ssion quality

- lvlinimum amplification and proj ection

140. 51

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f----+--l

- Slight increase in vocal clarity - Slight increase in techno / robo tic sow1d effects - Slight inrease in beats /

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- Slight increase in projection and amplification - Piano melodies less clear - Slight amplification of wind

instruments

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- No discernible change in robotic / techno effects

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- Techno / robotic effects

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- ~llmum increase in

projectio n and amplificatio n - Percussio ns h ave better

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i11st r un1e11ts compared to initial set up across all songs

clarity

- No discernibla change in directionality across all songs

- lvlinimum increa se in

- lvlinimum increase in

- lvLnimum amplification and

projection and amplification

projection and amplification

projection

- lvlinimum increa se in piano

- No discernible chang e in

- Slight muddying of vocal and

clarity - No discernible change in quality of wind and string

quality of vocal and

harmonisation

instrumental - ~Lnimum improvement in

- No discernible change in

instruments.

clarity of beats / percussions

- ~Lnimum improvement in clarity of beats / percussions

quality of instrumental

- Slight decrease in amplification and proj ection

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but no other discernible ch anges across all songs

- No discernible change in the quality of music as compared

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to p revious set up, but there are directionality to the sound across all songs.

- N o discernible change in quality o f music as compared to previous set up across all

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songs.

- No discernible change in quality of music as compared to previous set up across all

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songs.

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_Light Analysis

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Using light as a way to analyse energy diffusion of the chosen models.

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- E nergy spread as depicted by the light is uniform and reflected outwards as intended without leakage from edges of m odel.

Although light and sound 1vaves behaves different()', this test pl'Ovides an initial indicative behaviour of h01v energy 1vill he re.fleeted.

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- Light diffuses and lost towards the edges ar ound the model, and reflection from the top part is no t effecting in reflecting light.

The light test is used like a funnel !)'Stem to remove models that are not peiforming as required prqjecting and amplifjingphone speaker t01vaids a single listene1:

Model Iteration 10 - Fan

- Light is being lost to a certain extent towards the side of the m odel although it is reflecting it uniformly radially oul:\vards.

- Light is reflected in a wider angle, tessellations are angled to reflect light forward (as seen in the lighter area of the front view tessellations.

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_ Water Ripple Analysis

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Te.1~rellations C/'eate 'chamhe1:r' that traps and di.1~ripate the 1vater 1vave.1~ !?JI translation 1vill aLro trap sound.

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Waves are dearfy propagated outJvards 1vith minimal reflections and minimum disto1tion, hut tesselations on the Cl'OJ~r axis creates 1vave traps (unseen in the 1vater ripple tes~.

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Tessellations are 1vorking in reflecting the 1vaves outJvaids aC/'oss tmvaids audience. This model shmvs the most potential to he developedfi11the1~ espesdalfy it has heen peiforming 1vell 1vithout a ceiling. This model is seleded as kry model to he fi11ther combined 1vith the group modeLr.

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This model shmvs that tessellations - - 1vill 1vork if angled proper!J.

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Aa-oH the SPL map observations it is dear that each model can benefitfi'om each othe1:

Good curvature to he applied •--------■:..__________________J

1 - not enough projections although enough spread and diredionality

Directionality and difjitsion if sound .___ __.. tt b~ l,JII"'\,..-....~

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3 -fi-actaLr could he used to direct sound

Kept as hase model ratio efter groupmate'.r testing

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2 -focused heam and projectingfai~ although not enough spread

Legend:

SPL Map without shell

x - Geodesic soundsource 80

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120dB

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4 - alleged!J the hest ratio if dimensions tested aC1'0.1~r different modeL1~ although it is not shmving in SPLmap

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Learningfi'om the four chosen kry modeLr a set if neiv iterations are tested 1vith all the strengths if the individual modeLr.

_Hybrid Iterations

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Constant Parameter: 1 - tesselations are angled tmvaids the audience - tested 1 and 2 tesselations at the hackpaneL

- 22m front of shell width - 15m front of shell height - 7m back of shell height - 12m shell depth

2 -focusing the reflection if sound using the curved ceiling fo1m and the angle if its reflection.

Parameter tested:

- Back of shell's width - Back of shell's tessellations 1 or 2

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3 -fimtaLr are added in the next stage as a 1vqy to direct soundfinther 4 - hased on the hest tested sizing if opening.1~ depth and height ratio, the neiv set if iterations are kept 1vithin that size, 1vith the 1vidth if the hack panel vaiied to manipulate angle.

► Width Change

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► 1 Tessellation

2 Tessellations

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_Hybrid Iterations' Sound Pressure Level Matrix

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Legend:

SPL Map with out shell

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- Follmving Sound Pre.Lrure L evel (SPL) tests are done 1vith a Pacf?yderm plug-in in Grasshopper at 1k H z 1vith 60,000 rqys.

- One geodesic sound source isplaced in the middle ef the shell 5 m fi'om the hatk ef the shellfor each test.

- Mapping is done 1vith a 40x40m mtangulai· audience area 1vith a 2x2m g1id.

- Mate1iaLr a.1~rigned to the room model· 1. Shell (3 / 8" P!Jivood WalJ 2. Audience (Occupied) 3. Stage (Plaste1)

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Width of back Shell:

16m

14m

12m

No Back Tessellations

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Further Refinements

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Refinements andfine tuning to achieve hetterprrjections and diredionality (,'efleded tmvaids hoth ean)

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Fractals: 2nd Degree

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Back of Shell's Width: 14m Tessellations: 2

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Back of Shell's Width: 12m Tessellations: 2

39

40

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_Further Refinements

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C:

Fractals: 1st Degree

~

Fractals: 2nd Degree

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Back of Shell's Width: 12m Tessellations: 0

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Back of Shell's Width: 14m Tessellations: 2

From the refinements one result comes 1vith a directional hmnching ef 100dB pressure level This shmvs that the fiuctalr applied to the side ef the shell has heen dfedive in reflecting the sound tmvaids hoth direction.1~ directing sound tmvaids hoth the listener'.r eai:r.

,....

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This model has then heen chosen as the final model

Back of Shell's Width: 12m Tessellations: 2

Note: - Follmving Sound Pre.1~rure Level (SPL) tests are done 1vith a Pacf?yde1m plug-in in Grasshopper at 1k H z 1vith 60,000 rqys.

- One geodesic sound source is placed in the middle ef the shell 5 m fi'om the hack ef the shellfor each test.

- Mapping is done 1vith a 40x40m redangular audience area 1vith a 2x2m grid.

- Materialr assigned to the room model· 1. Shell (3 / 8" Pjyivood Wal~ 2. Audience (Occupied) 3. Stage (Plastei)

41

Legend:

SPL Map with out shell

x - G eodesic sound source 80

- • • c:====-

120dB

►

42

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0

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Final Outcome

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Note: 220.00

- Foll01ving Sound Pressure Level (SPL) tests are done 1vith a Pac-f?yderm plug-in in Grasshopper at 1k H z 1vith 60,000 rqys.

- Onegeodesic sound source isplaced in the middle if the shell 5 m fi'om the halk if the shellfor each test.

- Mapping is done 1vith a 40x40m rectangular audience area 1vith a 2x2m g1id.

- Mate1iaLr assigned to the room model· 1.

Shell (3 / 8" P/y1vood WalJ 2. Audience (Occupied) 3. Stage (Plaste1)

, 40.00

1

,

1

140.00

1

, 40.00

,r

Final model combines the strength if angled and curved ceiling 1vith a te.i~rellated halk and fimtaLr applied to the side suiface. The result is an amplification if the phone 1vith intended outcome, dimting sound straight to hoth audience'.r eai:r.

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Although the har chait and the standaid deviation sho1vs a relative/y uneven spread, it is not relevant for this task as the area that are not reciving enough sound are not if interest (dosest to the shell at hoth side.1).

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Legend: x - Geodesic soundsource

80

120dB

L-----------· ~- -- -~ ------------0

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Standard Deviation: 4.80

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_Appendix

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Notes, Models, Testing, Analysis, Sketches, Quotes, ...

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II

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C:

0

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_Appendix Instruments for water ripple.

Water FJpple Test set up and apparatus.

Initial tests a!'e too dal'k and l'ipples a!'e not shonm as gl'een a4tting mat isplaced hehind it.

,01 LL

-aw: cc

Vaiious d1"oppe1:r a!'e tested to tiy difjel'ent JJJave sizes.

S mailer 1vaves sizes al'e Jastel' and pl'qjects fi41the1 :

Ill

IV

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C:

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_Appendix

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A real!J strong hmnching if sound refledion is achieved.

(fine)Tuned Model

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Splitting sound into hoth ea1:r.

1::0\ .••......••......••......••......••......•

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Architectural application:

~n, .......................................... .

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1) seating plan to Joll01v the direction if sound

41

17

2) splitting sound acco1ding to designed plan

10 }

x - sound source

/

Fu1ther applications into an acoustic shellfor audience means that these values needr to he optimised.

Initial f?ypothesis to fix this includes:

V

1) Inmasing the 1vidth if opening 2) Reducing distance fi'om stage to audience 2) Introducing a radial seating arrangements

A test 1vith tivo sound soun-e sh01vs a clear Jplitting if sound, Jinther corifi1ming that the application if faceted side 1vall 1vorks in splitting the reflection if sound.

/

,

VI

a prelude to acoustic

STUDIO 45 Tutor: Sofia Colabella, Michael Mack, Gabriele Mirra