Victoria C Brown_Facades + Acoustics of Outdoor Space

ACOUSTICS OF

OUTDOOR SPACE

FACADES

Victoria Brown

+

Facades + Acoustics of Exterior Space

Victoria Brown

3

Table of Contents

AbstractProject Proposal MethodologyUrban Environment

Design WorkIdea GenerationSite Assessment

Sound InvestigationParameter 1: Material AnalysisParameter 2: Form + Process

Acoustical AnalysisApplication

04060811

Literature Review 34Precedent Studies 12

3838424852647078


Abstract

Victoria Brown

5

Abstract

Facades + Acoustics of Outdoor Space

The urban environment is constantly evolving, increas-

ing in scale as well as sound level. This study looks

into utilizing outdoor space within the urban environ-

ment of Chicago, IL. With ambient noise affecting the

activities in an open-air site, the project challenge fo-

cuses on acoustic design to enhance user experience.

Modern sound manipulation methods are typically only

used within indoor performance halls. Presumptions

and revisions were made to apply indoor techniques in

a contrastingly boundless environment.

This project proposes the use of adjacent

building facades: barriers that currently function

exclusively to enhance the interior environment. Ex-

panding upon these existing functions with acoustical

treatment may redefine the impact the façade can

have on the outdoor environment. Challenging materi-

ality (absorptive values) and form (x,y,z planes) allow

for meaningful interaction with sound produced in

adjacent outdoor space. This innovation presents an

opportunity for the site to facilitate powerful cultural

expression and interaction.

Performance types are typically at the mercy of their

arena—this study suggests that the façade may be

able to adapt acoustically and structurally; allowing

it the capability to accommodate a range of sound

types. Form is essentially generated through sound

behavior. A metamorphic dialog exists between the

façade, the outdoor site, and the dynamic urban

environment.

This study explicitly defines a set of

acoustical performance objectives and criteria for

architectural acoustics in the outdoor environment.

These considerations are able to be measured and

predicted in the design process, and may serve as a

template for future projects in synonymous context.


project proposal

Proposed Work: The urban environment is constantly evolv-

ing, changing in form and functionality to support new economic

demands. Building from existing infrastructure and medical,

technological, and innovative assets within the city, increased

densities, mixed-uses, and multi-modal public transportation

reshape the cityscape. In this new context, thoughtful planning

has established the built environment but there remains a need to

connect these buildings and people together with outdoor com-

munity gathering spaces. With

Introduction: As architects, engineers, and related professionals,

the concept of acoustics is very one sided. There is an under-

standing of acoustical values and treatments by the engineer with

very little appreciation for design integration. When acoustical

design transitions to the designer it can lose value and can-

not easily be adjusted without a base understanding of what it is

accomplishing in the project. In this study, there is an attempt

to bridge that gap and provide a foundation for both ends of the

profession to understand a need for strong design sense as well

as acoustic functionality in architecture.

Background: A variety of precedent studies were considered for

this project: all relating to acoustics, detail, and design. Prec-

edents and further research helped to guide the investigation of

the initial intersection between architecture and acoustics in the

urban environment.

less available land area, particularly for the function of parks,

leads designers to seek underutilized outdoor sites immediately

adjacent to free standing buildings of varied scales.

This study considers how this space will serve to facilitate social

interaction and cultural activities through the integration of archi-

tectural acoustics in the space.

Sound must be blocked from the external environment to accom-

modate independent functions of the open-air site. Sound will be

contained and enhanced through the form and materiality of the

gathering space. Building facades will structurally support and

contain panelized acoustic system. This systems forma nd mate-

riality are defined by the needs of the ongoing activity, potentially

a political speech, concert, or a collection of conversations. The

structures of the adjacent building facades will determine the

sound intensity and directionality, designed to reach the audi-

ence at appropriate decibels and location on the proposed site.

A range of materials will be considered, from traditional build-

ing materials to composite and recycled materials, their physical

properties will be assessed. Through the study of material rea-

cions to sound and the sound produced by the intended activities

of the space, a design will be identified through parametric mod-

eling software that will present feedback of acoustical behavior

and determine the quality of acoustical design. Multiple iterations

will be produced, optimizing the material placement and the overall

form of the building façade reaching out into the outdoor space.

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The façade will be able to reconfigure its orientation and/or the

surfaces exposed to the exterior to determine the acoustical

treatment it will offer the outdoor space. These varied formations

of the façade will impact the space in new ways both functionally

and aesthetically. Different seating arrangements will be available

to serve the activity going on in the space and the formation of

the façade adjacent to them.

Serving as an investigation in acoustics as they relate

to outdoor space, architecture, and the built environment. Look-

ing closely at surfaces, their shapes and material properties and

considering how they react to sound. Determining methods and

designing for ideal acoustical conditions in outdoor space is the

ultimate goal. Through incorporating architectural acoustics in

design, the designer is ensuring positive audible experience while

simultaneously enhancing the over depth of design.

A. A new urban context

B. Surrounding surface conditions and consequences +

opportunities (facades serve as base for acoustic functionality)

C. Innovation in design and technology generating incred-

ibly complex forms (use this to designers advantage)

D. Move past speculative design where acoustics appear

strong on paper and aren’t in actuality

E. Set acoustic parameters into design

F. Ensure strong, audible experience while simultaneously

enhancing overall depth of design

G. Able to input functionality of space and generate design

solutions that enhance acoustically (through form and materiality)

Timeline:

Significance: As urban environments become more prevelant you

want to have this access to designing for outdoor sites within the

environment. As this becomes a permanent resience for millions

of people, consider their quality of life, indoors/outdoors as well

as social and cultural connections to place, person, and their lives.

Aug 2013: Thesis Prompt

Oct 2013: Exploratory Research

Dec 2013: Research and Literature Review Compiled

Jan 2014: Initial Design Process

Feb 2014: Research Materiality

Mar 2014: Acoustical Analysis Software Search

April 2014: Design Production

April 28, 2014: Final Presentation


methodology

Idea Generation Site Assessment Sound Investigation Parameter 1:

Material AnalysisParameter 2:

Form + ProcessAcoustical Analysis Application

Categories of process in design work

2. Materials: Once this information is known,

the design process may begin and a grid may

be generated, laying out materials for eventual

façade application. The consideration of its im-

pact on the interior of the building must also be

considered. Several iterations will be produced

to determine optimization of assembly. Such

software programs will be utilized to determine

sound paths and manipulations:

• Pachyderm Plug-in for Rhino 5.0

As materials are placed in a grid or panelized

array, the assembly may begin to evolve in the

third dimension. Panelization was generated

through:

Grasshopper Plug-In for Rhino 5.0

Additional convex and concave movements will

Participants: For this thesis project, the sole

researcher and designer, Victoria Brown, cou-

ducted all methods, research, and

completed drawings. Academic

advisors Walter Grondzik and

George Elvin provided direction

in regards to acoustics and design understand-

ing. Acoustic consulting firm, Kirkegaard As-

sociates provided insight and critique during the

design process. Coding specialist,

Arthur van der Harten provided

assistance in providing acoustical

software and user guidance.

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Procedure: For the feasibility and accuracy of the project a system of

methods will apply to the investigation of acoustics in an outdoor environ-

ment.

Initial decisions consider the functionality of the open-air site set in close

proximity with buildings of varied uses in an urban environment. Specific

functions may include the use of the space for a collection of individual con-

versations, a political speech, or a soft rock performance. The characteristics

of the sound generated from these functions must be documented. Their

• sound levels (dB)

• sound frequencies (Hz)

These qualities will help in determining their interaction with the materials

cladding the adjacent building structures. Additionally a list of materials (con-

crete, wood, metal, glass, plastic, and composite materials) used in the design

space must include acoustical characteristics:

• absorption coefficient

physical characteristics:

• standard product dimensions

• structural capacity

• weatherability (density and porosity)

and environmental impact:

• embodied energy level

This data will help in understanding performance output and potential material

input. A matrix of the materials absorption coefficients at particular frequen-

cies will describe the direct relationship.

Design: The project looks into the base conditions

of the site as well as two progressive iterations of

facade development for the site.

continue to affect the interaction of sound to surface.

Sound directions and intensities will be altered and will

need to be continually adjusted to provide users with

appropriate acoustic conditions. The consideration of an

adaptable system may allow the array of materials and

their form to reconfigure to optimize sound quality to

meet current needs. Perform final analysis of architec-

tural acoustics using listed software applications. Consider

seating arrangements to complement the wall forms for

each of its three proposed configurations.


site selection & the urban environment

A survey with 1,000 citizens found that 53% of

Vancouver citizens felt that their city has become

noisier in recent years, while only 6% felt that it had

become less noisy. Trend: Average sound intensity

has doubled roughly every six years corresponding to

a 3dBA increase in the average sound level. - City of

Vancouver Noise Control Manual

Interpreting a particular sound as unwanted

involves subjective judgement by an individual.

Typical characteristics of unwanted sound include

pure tones and sharp impulses. Car noise impacts

the largest number of city dwellers. Because this

type of noise and activity is so com-

mon people are most tolerant of this

over air traffic or trains. According to

the Chicago Municipal Code all ampli-

fied sound must be approved by the

Chicago Park District. All sound must

be directed away from residence zoned

parcels and all speakers must be

identified on a site plan. Beyond this

statement there is nothing mentioned

regarding the acoustics of any site or regulations

pertaining to inappropriate sound levels in the city.

Victoria Brown

11site selection & the urban environmentDifferent neighborhoods embody

music styles that have evolved with

time.Cultural identity also steems

from esteemed artists that have de-

veloping their sense of music talents

in a particular area the city.

Hip hop artist Kanye West comes

from the the south shore of Chicago.

istricts in terms of music pockets,

interweaving to create the thread of

the city.


Precedents

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PrecedentsPrecedent Studies


The Pritzker Pavilion

Architect:Gehry Partners, LLP

Structural Engineer:Skidmore Owings & Merrill

Mechanical & Electrical Engineer:McDonough Associates

Theatre Consultant/Lighting Designers:Schuler & Shook

Acoustical Consultant/Audio Systems Design:The Talaske Group

Client: Millennium Park

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Pritzker Pavilion feat. Wentz Concert Hall—

“How do you make everyone - not just the

people in the seats, but the people sitting 400

feet away on the lawn - feel good about coming

to this place to listen to music? The answer is,

you bring them into it. You make the proscenium

larger; you build a trellis with a distributed sound

system. You make people feel part of the experi-

ence.”- Frank Gehry (arcspace)

Gehry’s stainless steel sculptural forms are an

interesting feature and the signature style of

most of his work, and may have some acousti-

cal intention on the Pritzker Paviliion outdoor

venue. There are clusters of speakers set into

these forms at the front of the performance

stage. The stage is at maximum capacity with

120 musicians along with a balcony space that

will support 150 choir members. This centrally

located venue is able to seat 4,000 persons in

the bombshell pavilion area and extends out ac-

commodating 7,000 lawn seats. The acoustics

are supported in such a large venue through

the addition of elevated trellises that form an

open-air acoustical canopy above the lawn space,

spanning 600’x300’ forming the shape of a

flattened dome (arcspace). Structurally, cylindri-

cal concrete pylons support them with stainless

steel cladding to integrate them into the design.

The sound generated through this sound system

allows for split noise as well as a fuller sound

Interesting features of the pavilion include the ability to close the

stage with glass doors to utilize the indoor space for banquets

and other functions during the cold winters of Chicago. In the

summer, however, there is a lighting system the enhances the

curving stainless steel forms and lights the terrace with small

illuminations resembling the twinkling stars above. Large glass

doors allow the Pavilion to be used for public functions, ban-

quets, receptions, and lectures, during the winter months.

The acoustical engineer, Talaske of The Talaske Group, pio-

neered the idea of using suspended overhead speakers with

digital sound processing to reproduce indoor quality sound to the

audience as they sit under the stars.

Although the Pritzker Pavilion may be the reason for Talaske’s

renowned success, he reflects fondly on a more recent project,

the Wentz Concert Hall in downtown Naperville, IL. The project

focused on the material qualities and forms themselves. Talaske

utilized maple panels that have defined grooves and projections

to diffuse high-pitched notes during a performance. He coins

the term for these panel treatments as “perturbations”, altering

the regularity of their surfaces and generating an acoustical

presence through their distribution of sound in unique ways. The

most unique feature of the Concert Hall are mesh walls that

serve as sound openings to empty rooms which sit on either side

of the performance stage at balcony level. These rooms clad in

hard surfaces are supported on a separate structural grid from

the rest of the hall. They are not subject to vibration or exter-

nal sound sources. They serve to control excessive loudness and

express the reverberation of the performance. (Chicago Tribune)


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Victoria Brown

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Hollywood BowlHollywood Bowl – revision of the 1929 out-

door pavilion in southern California. The

previous performance shell was too small to

contain the entire LA Philharmonic Orches-

tra and so the first stage of construction

was rebuilding the shell a third larger while

maintaining the modern aesthetic designed

by Frank Lloyd Wright. The new dimensions

of the overall shell performance stage are

111’x53’. The shell structure is divided into

four different sections, supported by ten tu-

bular steel truss spines, the largest one set at

60 feet tall and 130 feet wide(25,000lbs).

An additional 350 tons of structure steel re-

inforcement were placed, primarily to support

the sound and lighting equipment as the shelf

was a load bearing member itself. Four new

video screens were put in place to add to the

audiovisual experience for the venue. A turn-

table was built into the stage floor to allow for

efficient set changes. All equipment and ad-

ditional components were fabricated off-site

during the outdoor performance season and

installed in the fall of 2003 and spring of

2004. Total renovation and new construction

costs total 25M.

After the new shell was in place the acoustics

improvements were underway. During the ini-

tial design phase the engineers were designing

for the 485 throw distance out to the back of

the outdoor seating area and the team wanted

to avoid using delay towers out in the audie

nce seating space. The first addition was

a halo overhead structure called the “Co-

rona”. A 60’x90’ ellipse, the Corona is an

aluminum acoustical band that hangs directly

over the Hollywood Bowl stage. Its height

is set at a 10 degree angle and varies from

28 feet at the front of the stage to 32 feet

at the rear of the stage. There are optional

motorized side sections most utilized for

rock and roll performances. Structurally, the

band was mounted on a pulley system and

is able to be raised and lowered with pistons

and four winches, typically used in nautical

engineering. The center of the band contains

a grid of lighting and sound equipment. This

space is subdivided into four motorized baf-

fles that respond to different sections of the

orchestra: strings, woodwinds, brass, and

percussion. The four baffles are further di-

vided into individual reflector panels that can

shift upward to adjust the sound quality of a

particular performance. When the system is

not needed, it can be entirely removed and

stored. In addition to the acoustical halo,

there were V-DOSC loudspeakers placed on

the front of the shell in a linear array set

at 120 to 72 feet above stage level. With

these two elements forming a hybrid sys-

tem, the throw distance for the performance

venue was not a problem and allowed for the

localization of sound for the performers. The

number of loudspeakers integrated into the

halo suspension was the intent.


to eliminate house delays. With structural

limitations, an upper and lower section were

created, totaling 18 three-way loudspeaker

V-DOSCs with 6 two-way DV-DOSC linear

arrays out facing the audience on either side

of the stage. There was space between the

two sections to place subwoofers to generate

low-frequency control that would not be cap-

tured with any other arrangement. Both the

upper and lowers sections are able to cover

frequency ranges from 200 Hz and above.

The frequencies below 200 Hz are controlled

by the 24 linear arrays placed symmetrically

on the front sides of the shell, allowing for

greater throw distance of the bass sounds

while directing all sound more specifically to

the seating arena (eliminating split noise in an

otherwise residential neighborhood).

With assistance from the Corona, the shell

provides a reverberant effect to the sound

being produced on stage. In addition to the

baffles overhead, the musicians are able to

hear themselves and synchronize their deliv-

ery, resulting in better quality music from the

source. Research for the optimal shell design

has been ongoing since 1922 for this proj-

ect. It took three years for the new team to

generate a new solution, and in turn resulted

in demolishing the existing structure.

Overall the acoustics of the Hollywood Bowl

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have improved so much that

the engineers are able to rely

much less heavily on mechani-

cal amplification to project the

sound. As advanced as these

systems are, they still pres-

ent distortion of sound. The

Hollywood Bowl serves as the

foundation of sound for Los

Angles. With such extravagant

sound and lighting capabilities

the audience receives an ex-

perience of the highest qual-

ity. “The New Hollywood bowl

is a place where everyone can

escape and enjoy the sound of

life.”-Godges,

Architect: Hodgetts & Fung Design Associates

Steel Contractor: Milco

Executive Architect: Gruen Associates

Theater Design: Fisher Dachs Associates

Acoustic Design: Jaffe Holden Acoustics

Steel Coating: Sherwin Williams

Structural Engineer: Miyamoto International, inc.

Mechanical and Electrical Engineer: Gotoma Engineers

Rigging Designer: Tri West Engineering

General Contractor: Matt Construction

Steel Fabricator: S&S Steel Fabrication

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The Wild BeastThe Wild Beast—An indoor/outdoor pavilion that

defines the variances between acoustical design for

each environment.

This building on California’s Institute of the Arts

serves as both a recital hall and an outdoor perfor-

mance shell. The shell is a thin plane folded over the

performance space. The use of parametric model-

ing was utilized to generate its unique form that will

resonate the sound. The inward facing surface of

the shell is comprised of panelized surfaces that are

able to shift in orientation to adapt to different per-

formance needs. They are able to rotate, slide, and

pivot, which is particularly important as the sounds of

the musicians need to direct inward or outside to the

lawn seating space. Servos are able to fine tune the

resonance of the volume. The exterior cladding is

the copper-hued shingles. The overall form is sup-

posed to resemble an instrument.

The structure is titled, The Wild Beast, and is set at

the very front of the campus. It was an awkward site

with severe contours that lead the team to consider

an organic form in its rectilinear context. The unique

acoustical shell is cantilevered from its base and there

are glass sliding doors on the south side which allow

for the interaction with the outdoor seating space.

Surfaces on the interior north face assist in project-

ing the sound out to the audience. There are also

clerestory windows that are operable to complement

the instrumentality, an acoustic tool typically present

in the back of a stage.

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Federation Square

Federation Square—Perhaps the initial

inspiration for the project, this multi-

structure project includes a faceted

geometric panel system as well as

sound mitigation of the external city

environment including a railway that

rests directly below the site.

The pavement consists of cobble-

stones made of Kimberley sandstone.

There are stone pavers that serve as

the edge for terraces, stairs, plant-

ers and seating areas.

Federation Square spreads out an

entire city block in the center of

Melbourne, totalling 36,000 square

meters. The site is right across the

street from the historical Flinders

Street Train Station and conse-

quently train lines run below the

entirety of the site. Special vibra-

tion mitigation was included in the

foundation for the site.


Situated in the heart of

Melbourne, the site of cultural

buildings and a plaza for

impromptu interacts builds

upon the existing history

and experience within the

city. The project was a part

of an international competi-

tion wherein the winners,

Lab Architecture, had never

actually built any of their

previous designs. The raw

creativity and forward think-

ing design style sets this

assembly of buildings and

open site apart from the rest

of city, while celebrating the

city within it. Within one

of 9 cultural buildings the

National Gallery of Victoria’s

collection of Australian Art is

displayed. A visitor center is

also located on the site. The

open plaza space in the cen-

ter of the site is capable of

accomodating up to 25,000

people for various functions

from soccer games to rock

concerts.

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There are three cladding materials used for the panelized facade: zinc(perforated and solid), sandstone and glass. Each

of the panels is shaped as a single triangle, with similar proportions maintained across a five tile panel set. Framing this

geometry makes it easy for reconfiguration and surface development.

The central plaza space is the focus of the site establishing the relationships with the surrounding buildings as well as the

city and landscape around the site.

Acoustically, this project discusses the vibration control against the underground train system located just below the site.

Beyond that, there was little to no information regarding the acoustical value of the facade panels themselves. This missed

opportunity was encouragement to explore this particular realm of functionality. With such diverse activity positioned in the

center of the square, there is great opportunity to enhance sound quality for events, particularly musical in need of speaker

enhancement.


resonant chamber

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Resonant Chamber, an interior envelope

system that deploys the principles of rigid

origami, transforms the acoustic envi-

ronment through dynamic spatial, mate-

rial and electro-acoustic technologies.

(http://www.archdaily.com/227233)

The project was developed through an

iterative process. Each panel performs

absorption, reflection, or electro-acous-

tical function. There are circuit controls

that controls the movement and employ-

ment of electro-acoustic amplication in

response to surrounding sound conditions.

Different levels of exposure for each of

the different panels is possible as the

geometries reconfigure themselves. The

project is on the forefront of responsive

envelope design as well as kinetic tessel-

lated architectural systems.

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UTS Great Hall &Balcony Room

Although this project may be focused

on indoor application, the project

provides information regarding per-

foration of the panels and the impact

that deflection can have on sound

behavior. Additionally, the structure

to support triangular geometries was

considered when working with a net-

work of triangular forms connecting

to the structure of the building.

A project by DRAW Architects out

of Sydney, Australia. “The Mantle”

a fluid skin of perforated aluminum

comprised of more than 1000 unique

facets. The Mantle lines the ceiling and

walls integrating lighting, audio-visual,

fire and mechanical services into a

dynamic whole, that breathes new life

into the space.

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Litera

ture

Rev

iew

Sub Themes:

1. Transitioning City Structure: outdoor space relevance/

connectivity/intersection (soundscape)

--After the Crisis: The Metropolitan Revolution

The thesis design project is set into the evolving city structure. Set in

a period in the US economy where cities and metropolitan areas are

becoming more dependent and capitalizing on their distinctive assets

to serve as a catalyst for economic stability. With new market forces

such as fiscal constraints, energy source transitions, demographic

shifts, technological advances and climate change, will drive cities are

evolving their economies to meet these newchallenges. In response,

the form and function of cities will adapt to operate more efficiently to

output more sustainable, innovative goods and services. Cities across

the country are already leveraging their assets. Denver and LA are

are investing in transformative infrastructure; transit systems on both

local and global scale. Portland and Minneapolis are connecting small

businesses to global markets and forming networks geared toward in-

novation. New political structures are unfolding on a more local scale

and considering the input of business leaders to create more effective

and relevant policy. The site specific to this thesis is located in the city

of Chicago, a hub of finance and at the geographic center of national

transportation. Using their diverse industry base to their advantage

the city can work to develop connections between small businesses to

global markets and form networks geared toward innovation built upon

preexisting assets and their supportive infrastructure. This evolving

cityscape provides an unique opportunity to focus in on the dispersed,

open-air environments that may be utilized for public gathering spaces

that are able to contribute to quality of life and cultural enhancement.

--Cities as a Lab: Designing the Innovation Economy

“Building the relationship infrastructure” Not all of these collaborate

environments must be set indoors in a formal environment. Set at

the intersection of buildings and transit. Working to incorporate the

adjacent physical structures to form defined outdoor space with idea

acoustical conditions for a variety of social and cultural activities.

All components of city networks are being designed, allow for these

gaps, open-air environments to be utilized and perform at their high-

est level of capacity (acoustically and spatially speaking). Innovation

districts with innovative outdoor spaces. They are able to maintaining

a sense of human scale and the natural environment that are es

sential for human survival, more productive and healthy city centers.

Focusing on the acoustic qualities to allow for greater functionality of

the space to be used as a platform for discussion, entertainment and

socialization.

Business leaders take more control over policy decisions, allowing for

opportunity for a more local governing body with more transparent

ideas and accessibility.

Bringing businesses together in collaboration requires close proximity

and shared facilities with thoughtful planning. Existing and new build-

ings can be designed for adaptability, as the market needs change,

so do their functions. -------As these new plans come together,

consider outdoor needs…

Planning and zoning must accommodate higher densities, mixed and

adaptable uses, and more efficient transit systems. They must not

eliminate these remaining outdoor spaces.

These new land use policies will force designers to rethink signa-

ture public spaces like parks and community gathering spaces. These

gathering spaces bind the built environment and its users together,

and cannot be neglected. The thesis design is a proposed solution

to this issue.

Opportunity to engage intersections of citizens and buildings and to

provide them with quality experience. Utilize space through experi-

mentation, use of existing buildings that may enhance developing space.

On the level of acoustics, an important quality in design, especially in

an open-air space surrounded by a hectic urban environment—how do

you provide users with functional space, especially pertaining to social-

ization, political discussion, and cultural performance?

--The New Soundscape

As this project looks at the outdoor environment and the involuntarily

engagement of the external sounds of the city. Sound of nature,

humans, electrical, mechanical gadgetry, tools and technology are per-

meating is an outdoor space set for other specific functions dependent

on specific acoustic conditions. This is a particular advantage of in-

door environments with partitions that intentionally block environmental

noise from penetrating their unrelated sound use. “The modern hard-

edged city masks the voices of its human inventors.” These sounds can

be overwhelming and the idea of creating an open-air environment with

minimal interruption is part of the design challenge. What forms and

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35

applications can provide enough barrier to experience separate func-

tions without interruption? “Even in the hearts of cities there are

reservoirs ofsilence.” Using the existing city grid of development

to compose moments or sites of their own acoustical agenda. The

author, Schafer, suggests that the there is a definable difference

between noise and sound. Rapid, irregular sounds are considered

noise consistent with the constant lull of the city. Regular motions,

oscillations, vibrations, swings and periods are sounds related to

the musical performances taking place within the outdoor gathering

space. Have the ability to utilize this niche within the cityscape to

transform noise of the city to sound of conversation and instrumental

performance. But how will this spectrum of sounds of these activities

behave in terms of decay and reverberation in an open-air environ-

ment.

2. Sound Input and Output: Performance (Output) and Surface (Input)

--Acoustic Absorbers and Diffusers

This book provides technical information on how to control sound

qualities, primarily in concert halls and enclosed environments. The

challenge will be relating these methodologies to the exterior environ-

ment where less research has been conducted and less resources are

available. Making deductions and generating hybrid forms in the out-

door environment with use of adjacent building faces will be necessary

to treat the sound in the outdoor site.

Relevant topics include reverberation control, modal control (intelli-

gibility of speech) and configurations for stage enclosures for per-

formances. And suggests natural noise control concepts and diffuse

sound fields ideal for outdoor environments with sound coming from

many directions, especially in urban context lined with high-rise build-

ings.

Sound within the proposed site will be analyzed in terms of sound level

(dB) and frequency (Hz). In order to analyze the acoustic proper-

ties of materials within the space it is important to make note of the

noise reduction coefficient (NRC), which is the amount of sound energy

that will be absorbed when hitting a particular surface. Additionally,

the absorption coefficient which is similar but describes a material’s

propensity to scatter or diffuse sound.

Sustainable alternative materials are offered as replacements and there

is an emerging market for recycled materials in acoustics including

recycled cloth, metal, foams, wood, plastic, and rubber. Rubber is par-

icularly effective in absorbing sound with its elastic properties and is

able to be used in exterior applications inserting binders and apply-

ing paints and coatings without compromising the absorptive proper-

ties. Considering the harsh conditions of an outdoor space, fibrous

materials, such as plastics, work well as covers and will reduce high

frequencies while the thick porous materials they are covering may

serve to reduce the low frequencies (Cox, D’Antonio, pg. 159). They

may be able to work together when responding to the acoustics pres-

ent in a space. There is adaptability potential when the cover can

be added or removed depending on the frequencies of a particular

performance. Additionally, absorptive qualities of trees and vegetation

are relevant in an outdoor environment as they may be able to provide

value acoustically.

The book, Acoustic Absorbers and Diffusers, provides examples of how

surfaces scatter sound corresponding to their absorption coefficients

and geometries. This relationship of material properties and form will

be identify the parameters of design and drive the optimization of the

acoustic assembly. Understanding how sound behaves with different

geometries including plane surfaces, concave, convex, and optimized

curved surfaces as well as volumetric diffusers and hybrid surfaces are

important in generating a form customized to the site location and its

environment. Understanding these sound behaviors will generate an

initial digital geometric model with the opportunity for several iterations

and improved performance.

3. Acoustics Specific to the Outdoor Environment: Sound Behavior and

Environmental Noise

--An Approach to the Acoustic Design of Outdoor Space

The thesis design is considering an open-air, urban site where the

existing built environment is imposing spatial constraints permeated

by environmental noise. These design challenges require understand-

ing of sound behavior as well as manipulation techniques that will be

valuable in an uncontained space. The reading, ‘Acoustics Specific

to the Outdoor Environment’, are subject to design in the same way

that aesthetic considerations would be. With ideal acoustic conditions

predetermined for the space and its proposed activities, different

acoustic values such as noise levels are required to provide the users

of the space with intelligible sounds and valuable interactions. Mask-

ing the external set of sound information while enhancing the sound


information while enhancing the sound information being generated in

the space is the primary acoustical design challenge. Utilizing existing

boundaries for the site as well as implementing additional sound barri-

ers and absorbers, the management of sound in the space is possible.

4. Façade Structure and Functionality: Forming a Symbiotic Relation-

ship

--The Role of Building Facades – Curtain Walls

Emphasizing the importance for building facades to their interior en-

vironment is an argument of the past. But to build upon its cur-

rent functionality, there needs to be a deeper understanding of how

the façade works and interconnects multiple uses. Initially the façade

serves as a first impression or an aesthetic definition of the building

it is enclosing. It plays a critical role in the functionality and dynamics

of the interior space as well as plays a large role in determining the

energy performance of the building. Current façade innovation sur-

rounds energy savings for the interior environment as well as efficiency

in thermal properties, daylighting, and weatherability of the design. The

façade must react appropriately to the location and orientation of the

building. Constantly learning how the building may improve better with

changes made to the façade. The idea of the façade serving not only

the interior environment but the adjacent exterior environment presents

may stipulations. The addition of an acoustic assembly or designing the

fundamental structure to support appropriate sound manipulation is

being studied. These additions may not detract from the functions of

the interior or the overall energy performance of the building. Design

parameters, building type, material components, assemblage, mainte-

nance are all considered when working to make the building façade

dynamically react to both interior and exterior performance.

5. Sound and Architectural Experience Intersect: Psychoacoustics

--Sound, Awareness, and Place: Architecture from an Aural Per-

spective

In urban environments, transit lines and free-standing buildings may

diminish or increase unwanted noise and affect sound levels, as well as

diffuse, reflect, and absorb sound within the site. Orienting an outdoor

site so that it utilizes these features is key along with the placement of

trees and vegetation, serving as an acoustical barrier between the noise

of the city and the site. Particularly adverse to facilitating acoustics in

the open-air urban environment are modern materials which clad the

skyscrapers, metros, and surrounding infrastructure. Glass concrete

and steel create an environment of infinitely reflecting surfaces. This

is where the design opportunity presents itself. Looking way back to

the Renaissance period before these new material uses, Leon Battista

Alberti saw a fundamental unity between music and geometry. “Music

is geometry fashioned into sound. In music the very same harmonies

are audile which informs the geometries of a building.” (Bryant, pg. 5)

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referencesArcspace.com. Jay Pritzker Pavilion Gehry Partners,LLP

(1999-2003).http://www.arcspace.com/features/

gehry-partners- llp/jay-pritzker-pavilion/

Bonner, Tom., The Wild Beast/ Hodgetts + Fung Design

and Architecture. Arc Daily Selected Works.

http://www.archdaily.com/154187/the-wild-beast-

hodgetts-fung-design-and- architecture/

Godges, Maximillian., Hollywood Bowl Ressurected.

http://hollywoodbowlressurected.wikispaces.com/

Hollywood+Bowl+Resurrected. Fall 2009.

Johnson, Steve., Rick Talaske has an ear for perfection.

Chicago Tribune. September 20, 2011.

Lambert, Mel., Facility Profile: Upgraded Sound for

Legendary Hollywood Bowl. http://www.medi-

aandmarketing.com/13Writer/Profiles/PAR.Hollywood_

Bowl_2004.ht ml September 2004.

The Wild Beast - Cal Arts. Archinect Firms. http://

archinect.com/firms/project/3404/the-wild-beast-

calarts/86620272

Augoyard, Jean-Francois., Torgue, Henri., Sonic Experi-

ence: A Guide to Everyday Sounds. McGill-

Queen’s University Press. 2005.

Brown, A., Muhar, Andreas., An approach to the acoustic

design of outdoor space. Journal of Environ-

mental Planning and Management. Taylor Francis Online.

(Volume 47, Issue 6) 2004. (pgs. 827-842)

Bryant, John., Sound, Awareness, and Place: Archi-

tecture from an Aural Perspective. Proquest Learning

Company. 2008.

Cox, Trevor., D’Antonio, Peter., Acoustic Absorbers and

Diffusers: Theory, Design and Application. Second

Edition.

Katz, Bruce., After the Crisis: The Metropolitan Revolu-

tion. The Brookings Institution 2013. Speech

given May 21, 2013.

McFarquhar, Dudley., The Role of the Building Façade –

Curtain Walls. McFarquhar Group Inc.

Noise Control and Room Acoustics in Building Design.

Architectural Record Continuing Education Center. Mc-

Graw Hill FInancial. 2013.

Schafer, Murray., The New Soundscape. 1977.

Pertaining to the Literature Review:

A collection of works by local leaders., Edited

by the American Institute of Architects., The

American Institute of ArchitectsCities as a Lab:

Designing the Innovation Economy.


Intersection between the urban environment and architectural acoustics.

Idea Generation

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Urban Context

Open Air SpacesAdjacent Buildings

Materiality

Form

Adaptability

Funtional OpportunitiesFacade [Curtain Wall]

Views

WeatherabilityThermal Barrier

Daylighting

Political Speech

Soft Rock Concert

Social Opportunities


KEY TERMS IN ARCHITECTURAL ACOUSTICS:

MITIGATE BACKGROUND NOISE AS TO NOT OVERWHELM USER AND FUNCTION OF OUTDOOR SITE -- WHILE MAINTAINING SENSE OF URBAN SPHERE

ENHANCE THE QUALITY AND LEVEL OF DIRECT SOUND BEING PRODUCED

CONSIDER SYMBIOTIC RELATIONSHIP BETWEEN THESE TWO SOUND SCAPES WITHIN THE CITY CONTEXT

THROW DISTANCE (+) DIRECTIONALITYSOUND PRESSURE LEVELFREQUENCYARTICULATIONBACKGROUND NOISEFLUTTER ECHOREVERBERATION TIMECONDITIONS OF A WAVE

105 FT

60 FT

40 FT

20 FT

0 FT

DISTANCE AND DIRECTION THAT DIRECT SOUND TRAVELS ON THE GROUND PLANE

INTENSITY OF SOUND MEASURED IN DB (DECIBELS)

DISTANCE BETWEEN WAVES

POTENTIAL TO MAKE OUT DETAILS OF SOUND

ACCUMULATION OF SOUNDS IN LARGER ENVIRONMENT

OCCURS WHEN NOISE BOUNCES BETWEEN TWO SURFACES ON SITE

TIME THAT IT TAKES THE DIRECT SOUND DB TO DROP BY 60

REVERBERATION

REFLECTION

DIRECT SOUNDAA

BB

CC

BOUNCING BETWEEN TWO SURFACES

SURFACE_SOUND INTERACTION

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Site Assessment

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Social scientist, Katz, and design leaders

see the future of cities reshaping to

focus innovation with global reach. Con-

necting small entrepreneurial firms with

large corporations and redesigning the

buildings to adapt to company growth

and transition. Increased public trans-

portation available to the public, sets the

pace of the city even higher. Remaining

outdoor spaces are great opportuni-

ties to create impromptu meeting places

and organized events. Considering the

environmental noise of the city and the

hard surfaces of the existing skyscrap-

ers, acoustics are pivotal in providing

functional, meaningful outdoor space

within the bustling urban environment.

Occupants of a building make the transition

from indoor, conditioned space to the out-

doors. Considering how to minimize these

noises while mainting a calm sense of un-

derstanding that the world is there: you’ve

chosen to live a city afterall. The benefits

of urban energy are there and the idea of

gathering for performance is celebrated:

why not in outdoor space? Considering

how to arrange this space not only in a

spatial sense, acoustics must be considered

to accomodate the functions of conversa-

tion, presenation, or musical performance.

Keeping outdoor functional possibili ties

open with acoustic tools maybe the facade

of theadjacent building becomes the frame-

work for this treatment.

Chicago—a city of density with diverse

cultures and energy. Different districts

of functionality, dynamism and design—

choosing to look at the districts in terms

of sound pockets, interweaving to create

a dialoge of the city. With the collection

of environmental noise: jet engines sailing

across the sky, cars honking in traffic, a

jackhammer being used in construction, or

a child crying over a lost balloon; makes


POPULATION BUSINESSES PUBLIC TRANSIT LINES2.7M 4K 224MI

SOUND LEVEL84dB

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SOUND LEVEL84dB


ZONING CARPUBLIC LAKEFRONTPRIVATE LAKEFRONTRESIDENTIALMIXED USECORE DOWNTOWN

10,000-14,99915,000-19,99920,000-39,999

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PEDESTRIAN TRAIN10,000-24,9995,000-9,9990-4,999

Brown Purple Pink & Orange LinesBlue LineRed Line


sounds of the city

Public Transportation

People

Construction

Air TrafficBirds

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Industry

Vehicular Traffic

Air Traffic

Lakefront

BACKGROUND NOISE ELEMENTS

120

110

100

90

80

70

60

dB

Hz4k2k500250125


0 Hz

63 Hz

36Hz

4000 Hz

0 Hz

63 Hz

36Hz

4000 Hz

0 Hz

63 Hz

36Hz

4000 Hz

120 dB

80dB

60dB

POTENTIAL ACTIVITY SOUND CHARACTERISTICS

Comparing the range of activity types to focus on within the site: A soft rock concert involves the greatest range of frequencies and

highest sound levels and will be further evaluated when designing around enhancing a facade system.

On the right, the instruments that comprise a soft rock concert are broken up by average frequencies and in the bottom right image the

soft rock sound source is expressed in sound intensity levels per frequency.

Sound Investigation

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Hz125 250 100050063 2000 4000 8000

SOUND TYPE: SOFT ROCK CONCERTHz

125 250 100050063 2000 4000 8000

SOFT ROCK CONCERT INSTRUMENT FREQUENCIES


Parameter i:Material Analysis

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analyze results:

foam and fibrous

materials have

highest absorp-

tion coefficients..

composite materi-

als (man-made)

are highest with

ability to withstand

elements in an

outdoor application

Hz

50 63 80 100 125 150 160 200 250 315 400 500 630 8000

.2

.4

.6

.8

1

1.2

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1K 1.25 1.6K 2K 3K 4K 8K5KFOAM (EXPANDED POLYSTYRENE)

FOAM (RIGID POLYURETHANE)

FOAM (FLEXIBLE POLYURETHANE)

WOOD (MDF PERFORATED 18.1%)


WOOD (CEDAR + MINERAL WOOL)

WOOD (PLYWOOD PERFORATED 18.1%

METAL (LINI NANOMATERIAL)

METAL (PERFORATED 9.1%)

FIBRE CEMENT PERFORATED 28.3%

FIBRE CEMENT

GLASS WOOL

PLASTIC (KALWALL)

PLASTIC (RUBBER)

PLASTIC (NATURAL FIBRE REINFORCED)

PLASTIC (HDPE)

METAL (CHAIRS)

WATER

GLASS (DOUBLE GLAZING)

GLASS (LARGE PANE OR HEAVY PLATE)

GLASS (6MM)

GLASS (4MM)

BRICK

CONCRETE FINISHED

CONCRETE UNFINISHED


FOAM (EXPANDED POLYSTYRENE)

FOAM (RIGID POLYURETHANE)

FOAM (FLEXIBLE POLYURETHANE)



WOOD (CEDAR + MINERAL WOOL)

WOOD (PLYWOOD PERFORATED 18.1%)

METAL (LINI NANOMATERIAL)

METAL (PERFORATED 9.1%)

FIBRE CEMENT PERFORATED 28.3%

FIBRE CEMENT

GLASS WOOL

PLASTIC (KALWALL)

PLASTIC (RUBBER)

PLASTIC (NATURAL FIBRE REINFORCED)

PLASTIC (HDPE)

METAL (CHAIRS)

WATER

GLASS (DOUBLE GLAZING)

GLASS (LARGE PANE OR HEAVY PLATE)

GLASS (6MM)

GLASS (4MM)

BRICK

CONCRETE UNFINISHED

Hz

8K50 63 80 100 125 150 160 200 250 315 400 500 630 800 1K 1.25 1.6K 2K 3K 4K 5K

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0

.1

.4

.6

.7

.8

.9

1.0

.2

.3

.5

8K50 63 80 100 125 150 160 200 250 315 400 500 630 800 1K 1.25 1.6K 2K 3K 4K 5K

Hz

ABS

ORP

TIO

N C

OEF

FICI

ENT

Fibre Cement

This material has high absorption values at mid to high range frequencies. This frequency range includes train and car noise and is

located on the perimeter of the site as a barrier preventing the sound from entering the site.


0

.1

.4

.6

.2

.3

.5

8K50 63 80 100 125 150 160 200 250 315 400 500 630 800 1K 1.6K 2K 3K 4K 5K

ABS

ORP

TIO

N C

OEF

FICI

ENT

kalwall

High Absorption at Low to Medium Frequencies. This material is being placed at the top of facade, working to mitigate the overall sound

particularly air traffic.

Hz

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0

.1

.4

.6

.2

.3

.5

.7

Hz

8K50 63 80 100 125 150 160 200 250 315 400 500 630 800 1K 1.25 1.6K 2K 3K 4K 5K

ABS

ORP

TIO

N C

OEF

FICI

ENT

hdpe

High Absorption at high frequencies, this material has the most contact with the direct sound source on site. HDPE is placed to reflect

sound back into the audience, making the performance feel more alive.


2

1

3

4AAAAAAAAA

BBBBBBBBBBBBBBBB

CCCCCCCCCCCCCCCCC

MATERIAL STUDIES

=

=

ABSORPTION

TRANSPARENCY DENSITY SURFACE_SOUND INTERACTION

REFLECTION

DIFFUSION

SELECTION

Fibre Cement

kalwall

hdpe

18.1% PERFORATED

HIGH DENSITY POLYTHYLENE

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2

1

3

4AAAAAAAAA

BBBBBBBBBBBBBBBB

CCCCCCCCCCCCCCCCC

MATERIAL STUDIES

Fibre Cement

kalwall


SUB STRUCTURE

PANELIZATION

FACADE MASSING

BASE CONDITIONS

SITE

ITERATION i

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4

3

2

1

4

3

2

1

19 FT

17015555155555555555555551515155555155511 51555155

51 FT

110

969666

29 FT299999929299999292992929222222929222929229299929 FT

31 FT

12 FT2222222222222222212222 F2 FF

95

130

10 FT

26 FT

165175

240

11 FT

22 FT2222

170

58 FT

20 FT20 F

10070

21 FT

17 FT11111111117 FT 17

112

145

23 FT22222222323 FT

125121112551 512521255551125

95559559595

Parameter ii:Form + Process

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state range or average overhang distance necessary to contain sound in space so that it does not all completely dissipate while allowing

for the site to remain open to the urban experience.

4

3

2

1

4

3

2

1

19 FT

17015555155555555555555551515155555155511 51555155

51 FT

110

969666

29 FT299999929299999292992929222222929222929229299929 FT

31 FT

12 FT2222222222222222212222 F2 FF

95

130

10 FT

26 FT

165175

240

11 FT

22 FT2222

170

58 FT

20 FT20 F

10070

21 FT

17 FT11111111117 FT 17

112

145

23 FT22222222323 FT

125121112551 512521255551125

95559559595


panelization process

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The first iteration is sending the sound beyond the audience and off of the site

ITER

ATIO

N I

Acoustical AnalysisDIRECTIONAL REFLECTION

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switch this image!!!!

ITER

ATIO

N II

In this next iteration, the facades were scaled down and the concave form reflects the sound from the

performer directly into the audience area at the appropriate distance.


BASE

CON

DITI

ONIT

ERAT

ION

IIIT

ERAT

ION

IBA

SE C

ONDI

TION

WIT

H ST

REET

NOI

SECOMBINED 63 125 250

A

B

C

D

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22.5 45 67.5 90+

500 1K 2K 4K


A B

SPAT

IAL

RESP

ONSE

COMBINED ITERATION I

Sound is not hitting audience area evenly, and is

reflecting more strongly off of the eastern wall of

Building B.

Sound is projecting in a more central location evenly,

however the throw distance is not quite far enough

to reach the back of the intended audience area.

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C D

ITERATION II BASE CONDITIONHere we are seeing better throw distance however

there are moments of sporatic distribution and the

sound is reflecting more heavily off of the eastern

wall of Building B.

As this is analyzing the sound coming from the

street rather than the intended sound source on the

site, it does not directly compare to the previous

spatial diagrams. It does, however, show the high

intensity of the street and train noise and the overall

impact on the outdoor site. It particularly impacts

the northwestern corner of Building A and encour-

ages the facade geometry to extend out in this area

and block some of the sound penetrating the site.


22.5 45 67.5 90+

With the base conditions, you are able to see sound intensities

closely restrained to the sound source.

The sound intensity levels are increasing and expanding in throw

distance out into the audience area. Levels between 45 and

67.5dB

The sound intensity levels remain constant but increase in throw

distance to the end of the audience area.

A

B

C

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BASE CONDITIONS

ITERATION I

ITERATION II

OVERALL dB ON SITE

BACKGROUND NOISE

DIRECT SOUND

0 50 100

Offered through the Pachyderm Acoustic Plug-in, as the sound is mapped on the site there is a

degree to which the sound dissipates in the open-air site. Here, you can see the sound energy that

immediately leaves the site as the source emits it. The final iteration retains 45% more sound than

the base condition without an acoustical facade.

A B C 39%67%84%

ENERGY LOSS

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Victoria C Brown_Facades + Acoustics of Outdoor Space

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