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Final Book 5-9-13.Indd Resonant Form The Convergence Of Sound and Space Thesis Research, Analysis, and Design Shea Michael Trahan Ammar Eloueini - Advisor ©Copyright by Shea Michael Trahan, 2013 All rights reserved. Contributors: David Merlin Michael Howard Alan Tower Kim Riccelli Content: Abstract 4 - 6 Thesis 7 - 20 Referenced Works 21 - 26 Precedent Studies 27 - 56 Site Analysis 57 - 64 Program Analysis 65 - 71 Design Application 72 - 83 3 Resonant Form : The Convergence of Sound and Space Abstract Resonant Form : 4 The Convergence of Sound and Space abstract . thesis . reference . precedent . site . program “The modern architect is designing for the deaf….the study of sound enters modern architecture schools only as sound reduction, isolation and absorption.” -R. Murray Schafer Human spatial perception is a sensual experience of the world we inhabit. While this process of experience draws on all of our senses by varying degrees, the process of design has long preferenced the visual at the expense of other modes of perception. Today’s architects, acousticians, and environmental analysts are coming to realize that the relationship between architecture and sound has been neglected for too long. Organizations have emerged abroad to engage our understanding of the aural environment (ie. CRESSON, IRCAM, Spatial Information Architecture Laboratory, World Soundscape Project, European Acoustic Heritage, WFAE). Embarking into investigative territory, this thesis hopes to dive into the contemporary discourse on the sound of architecture. This project proposes to delve into a body of research regarding the acoustically performative nature of architectural space. While most architects either neglect the sonic environment or seek to dampen and absorb acoustic responsiveness, this investigation shall aim to work in the opposite direction. Through avenues of research pertaining to materials, design processes, and fabrication techniques, this project seeks to take spatial qualities to their potential extents by creating a space of hyper-resonance. While architecture has long striven to embody the complexities of music through proportions and rhythms, this project takes a different approach. It is the opinion of this author that a problem arises in any attempt to translate sound (through representation) into architectural form. Here, rather than attempt at representation, I seek to work with the element itself; sound as a material/element/force. It is believed that through a rigorous approach to design in which the nature of sound is the central tenet, a level of instrumentality can be achieved, thus creating a true Aural Architecture. “Buildings provide spaces for living but are also de facto instruments, giving shape to the sound of the world. Music and architecture are related not only by metaphor, but also through concrete space. Every building I have admired is, in effect, a musical instrument whose performance gives space a quality that often seems to be transcendent and immaterial.” - Daniel Libeskind It is noteworthy that the performative experience of Aural Architecture is sufficiently powerful to induce a sense of transcendence and immateriality (from the quote above). This speaks to the timeless interconnection of sound and spirituality as seen in the relationship between various religious architectures and the particular forms of music associated with them. As such, the architecture literally becomes the instrument of transcendent experience. It is this experience of sacredness through the sound of space which was the initial motivation for this thesis idea, and indeed still serves as a theoretical subtext within this investigation. This is viewed as a byproduct of such acoustic performance and presents itself as the subjective nature of this project. Focusing once more on the performative aspects of architecture, I aim to engage both digital and physical design avenues by which to investigate and implement sensually intensified architectural solutions. This will necessitate an iterative process of precision formal and surface explorations with cycles of testing and reworking. Three particular areas of importance arise within this process: overall spatial form, surface articulation, and materiality/construction methods. There are software options as well as graphic and three dimensional model investigations which may act as the vehicles for this research. Parametric frameworks can inform this iterative process by enabling the designer to explore multiple evolutions of form and surface articulation. These evolutions can then be tested for their objective performance providing input for further developments. Academic cross referencing may also inform this process. Tapping into the discourse of various accumulated research manifestos (symposia and conferences) along with current doctoral research being conducted by experienced practitioners, a preexisting body of reference can be accumulated from which to embark on this avenue of investigation. Examples: Architecture|Music|Acoustics - Ryerson (2006) The Sound of Architecture - Yale (2012) Manufacturing Parametric Acoustic Surfaces - Smart Geometry (2010) and PhD research by Brady Peters - CITA Royal Danish Academy of Fine Arts School (2012) 5 Resonant Form : abstract . thesis . reference . precedent . site . program The Convergence of Sound and Space Considering the aim of engaging human spatial perception, acoustic manipulation (of the sort discussed here) might serve as the most engaging of the perceptive qualities of architecture. While the visual realm is naturally the initial form of sensory awareness of space, it remains a uni-directional process. While one might be driven to a state of awe by experiencing the effects of light within a space, the user is most certainly never the source of such stimuli. Light is produced from a particular source, travels across an architectural form, and is consumed by the eye. Within the sonic realm however, humans may enjoy a much more interactive role as the potential producer, manipulator, and consumer of the aural sensation. This intense engagement is so often ignored in our built forms that we predominantly fail to even take notice of the relationship between sound and space within our daily movements. “Listen! Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere.” - Peter Zumthor As humans are sonic instruments themselves through use of our vocal range, the engagement of our sonic qualities within a sensitively designed aural architecture creates the potential for a truly “transcendent and immaterial” experience. It is in this way that this project strives to enlist the resonant natures of architectural forms to deeply engage the sensory awareness of human spatial perception. This project aims to make utility of the mundane for the purpose of giving voice to the profound. In closing, the heart of this thesis investigation lies in a desire to explore the oft ignored aural qualities of our field of practice. Contemporaryy technology opens the doors for more precise and exploratory investigations. Resultantly, it is the opinion of this author that just as Ando’s use of light as an architectural element of the ephemeral, sonic qualities can also present the contemporary architect with a palate of awesome sensual elements. The only limiting factor in our use of such qualities is our willingness to engage them as legitimate areas of architectural understanding. In learning the myriad of ways that architectural form can manipulate the sonic qualities of space, we may be better poised to provide more appropriate environments in which acoustics play a direct role in the efficiency of use. Such spaces may include performance halls, conference centers, meeting rooms, auditoriums, athletic facilities, classrooms, office spaces, hospitals, waiting rooms, public assembly spaces, therapy areas, and sacred architecture. Poor acoustics in classrooms have been linked to a 50% reduction in vocal clarity from teacher to student. Many hospitals struggle with interior noise levels which are prohibitive to healthful rest due to medical machinery noise. The urban soundscape has become a disaster zone of aural aesthetics. The applications for acoustically responsive designs are quite prevalent. As architects, the responsibility is ours to engage the effects and affects created by our designs. Our understanding of these potentials must be explored. This thesis aims to contribute a slight bit to this realm of understanding. “…the rough-granite-clad surfaces of the bath made the sound of mere breathing audible. Further vocal tuning would allow each inhabitant to quickly find the sympathetic resonance between body and space by humming slowly through a range of different frequencies. After adding our own frequencies to the impromptu performance we really didn’t want to leave this powerful space that coddled our bodies in a vibrating medium of air…” - Architect Mikesch Muecke and Musician Miriam Zach describing their sensual experience of Peter Zumthor’s Thermal Baths in Vals Resonant Form : 6 The Convergence of Sound and Space abstract . thesis . reference . precedent . site . program Thesis 7 Resonant Form : abstract . thesis . reference . precedent . site . program The Convergence of Sound and Space Introduction This project aims to explore the power of sound on human perception through the manifestation of architectural acoustical phenomenon. Initially conceived as a chamber for sonic meditation, this exploration of sound delves into
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