victoria c brown_facades + acoustics of outdoor space
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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
Facades + Acoustics of Exterior Space
Abstract
Victoria Brown
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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.
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
Precedents
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PrecedentsPrecedent Studies
Facades + Acoustics of Exterior Space
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)
Facades + Acoustics of Exterior Space
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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.
Facades + Acoustics of Exterior Space
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
Victoria Brown
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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
Facades + Acoustics of Exterior Space
Victoria Brown
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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.
Facades + Acoustics of Exterior Space
Victoria Brown
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Facades + Acoustics of Exterior Space
Victoria Brown
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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.
Facades + Acoustics of Exterior Space
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.
Victoria Brown
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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.
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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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.
Facades + Acoustics of Exterior Space
Victoria Brown
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Facades + Acoustics of Exterior Space
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
Victoria Brown
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
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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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
Facades + Acoustics of Exterior Space
POPULATION BUSINESSES PUBLIC TRANSIT LINES2.7M 4K 224MI
SOUND LEVEL84dB
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SOUND LEVEL84dB
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
Parameter i:Material Analysis
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Facades + Acoustics of Exterior Space
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 (MDF PERFORATED 4.5%)
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
Facades + Acoustics of Exterior Space
FOAM (EXPANDED POLYSTYRENE)
FOAM (RIGID POLYURETHANE)
FOAM (FLEXIBLE POLYURETHANE)
WOOD (MDF PERFORATED 18.1%)
WOOD (MDF PERFORATED 4.5%)
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.
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
SUB STRUCTURE
PANELIZATION
FACADE MASSING
BASE CONDITIONS
SITE
ITERATION i
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Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
panelization process
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Facades + Acoustics of Exterior Space
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Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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.
Facades + Acoustics of Exterior Space
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
Facades + Acoustics of Exterior Space
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Facades + Acoustics of Exterior Space
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