final book 5-9-13

Resonant FormThe Convergence Of Sound and Space

Thesis Research, Analysis, and DesignShea Michael Trahan

Ammar Eloueini - Advisor

Contributors:

David MerlinMichael Howard

Alan TowerKim Riccelli

©Copyright by Shea Michael Trahan, 2013All rights reserved.

3 Resonant Form : The Convergence of Sound and Space

Content:Abstract

4 - 6

Thesis 7 - 20

Referenced Works21 - 26

Precedent Studies27 - 56

Site Analysis57 - 64

Program Analysis65 - 71

Design Application72 - 83

Resonant Form : The Convergence of Sound and Space

4abstract . thesis . reference . precedent . site . program

Abstract

5 Resonant Form : The Convergence of Sound and Spaceabstract . thesis . reference . precedent . site . program

“The modern architect is designing for the deaf….the study of sound enters modern architecture schools only as sound reduction, isolation and absorption.”

-R. Murray Schafer

Human spatial perception is a sensual experience of the world we inhabit. While this process of experience draws on all of our senses by varying degrees, the process of design has long preferenced the visual at the expense of other modes of perception. Today’s architects, acousticians, and environmental analysts are coming to realize that the

relationship between architecture and sound has been neglected for too long. Organizations have emerged abroad to engage our understanding of the aural environment (ie. CRESSON, IRCAM, SpatialInformation Architecture Laboratory, World Soundscape Project, European Acoustic Heritage, WFAE). Embarking into investigative territory, this thesis hopes to dive into the contemporary discourse on the sound of architecture. This project proposes to delve into a body of research regarding the acoustically performative

nature of architectural space. While most architects either neglect the sonic environment or seek todampen and absorb acoustic responsiveness, this investigation shall aim to work in the opposite direction. Through avenues of research pertaining to materials, design processes, and fabricationtechniques, this project seeks to take spatial qualities to their potential extents by creating a space of hyper-resonance. While architecture has long striven to embody the complexities of music through proportions and rhythms, this project takes a different approach. It is the opinion of this author that a problem arises inany attempt to translate sound (through representation) into architectural form. Here, rather thanattempt at representation, I seek to work with the element itself; sound as a material/element/force. It is believed that through a rigorous approach to design in which the nature of sound is the central tenet,a level of instrumentality can be achieved, thus creating a true Aural Architecture.

“Buildings provide spaces for living but are also de facto instruments, giving shape tothe sound of the world. Music and architecture are related not only by metaphor, but also through concrete space. Every building I have admired is, in effect, a musical instrument whose performance gives space a quality that often seems to betranscendent and immaterial.”

- Daniel Libeskind

It is noteworthy that the performative experience of Aural Architecture is sufficiently powerful to induce a sense of transcendence and immateriality (from the quote above). This speaks to the timelessinterconnection of sound and spirituality as seen in the relationship between various religiousarchitectures and the particular forms of music associated with them. As such, the architectureliterally becomes the instrument of transcendent experience. It is this experience of sacrednessthrough the sound of space which was the initial motivation for this thesis idea, and indeed still serves asa theoretical subtext within this investigation. This is viewed as a byproduct of such acoustic performance and presents itself as the subjective nature of this project. Focusing once more on the performative aspects of architecture, I aim to engage both digital andphysical design avenues by which to investigate and implement sensually intensified architectural solutions. This will necessitate an iterative process of precision formal and surface explorations withcycles of testing and reworking. Three particular areas of importance arise within this process: overallspatial form, surface articulation, and materiality/construction methods. There are software options aswell as graphic and three dimensional model investigations which may act as the vehicles for thisresearch. Parametric frameworks can inform this iterative process by enabling the designer to exploremultiple evolutions of form and surface articulation. These evolutions can then be tested for theirobjective performance providing input for further developments. Academic cross referencing may also inform this process. Tapping into the discourse of variousaccumulated research manifestos (symposia and conferences) along with current doctoral research being conducted by experienced practitioners, a preexisting body of reference can be accumulated from which to embark on this avenue of investigation. Examples:

Architecture|Music|Acoustics - Ryerson (2006) The Sound of Architecture - Yale (2012)

Manufacturing Parametric Acoustic Surfaces - Smart Geometry (2010)

and PhD research by Brady Peters - CITA Royal Danish Academy of Fine Arts School (2012)



Considering the aim of engaging human spatial perception, acoustic manipulation (of the sort discussed here) might serve as the most engaging of the perceptive qualities of architecture. While thevisual realm is naturally the initial form of sensory awareness of space, it remains a uni-directional process. While one might be driven to a state of awe by experiencing the effects of light within a space,the user is most certainly never the source of such stimuli. Light is produced from a particular source, travels across an architectural form, and is consumed by the eye. Within the sonic realm however,humans may enjoy a much more interactive role as the potential producer, manipulator, and consumer of the aural sensation. This intense engagement is so often ignored in our built forms that we predominantly fail to even take notice of the relationship between sound and space within our daily movements.

“Listen! Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere.”

- Peter Zumthor

As humans are sonic instruments themselves through use of our vocal range, the engagement of our sonic qualities within a sensitively designed aural architecture creates the potential for a truly “transcendent and immaterial” experience. It is in this way that this project strives to enlist the resonant natures of architectural forms to deeply engage the sensory awareness of human spatial perception. This project aims to make utility of the mundane for the purpose of giving voice to the profound. In closing, the heart of this thesis investigation lies in a desire to explore the oft ignored aural qualities of our field of practice. Contemporary technology opens the doors for more precise andyexploratory investigations. Resultantly, it is the opinion of this author that just as Ando’s use of light as an architectural element of the ephemeral, sonic qualities can also present the contemporary architect with a palate of awesome sensual elements. The only limiting factor in our use of such qualities is our willingness to engage them as legitimate areas of architectural understanding. In learning the myriad of ways that architectural form can manipulate the sonic qualities of space,we may be better poised to provide more appropriate environments in which acoustics play a direct role in the efficiency of use. Such spaces may include performance halls, conference centers, meetingrooms, auditoriums, athletic facilities, classrooms, office spaces, hospitals, waiting rooms, public assembly spaces, therapy areas, and sacred architecture. Poor acoustics in classrooms have been linked to a 50% reduction in vocal clarity from teacher to student. Many hospitals struggle with interiornoise levels which are prohibitive to healthful rest due to medical machinery noise. The urbansoundscape has become a disaster zone of aural aesthetics. The applications for acoustically responsive designs are quite prevalent. As architects, the responsibility is ours to engage the effects and affects created by our designs. Our understanding of these potentials must be explored. This thesis aims to contribute a slight bit to this realm of understanding.

“…the rough-granite-clad surfaces of the bath made the sound of mere breathing audible. Further vocal tuning would allow each inhabitant to quickly find the sympathetic resonance between body and space by humming slowly through a range of different frequencies. After adding our own frequencies to the impromptuperformance we really didn’t want to leave this powerful space that coddled our bodiesin a vibrating medium of air…”

- Architect Mikesch Muecke and Musician MiriamZach describing their sensual experience of Peter

Zumthor’s Thermal Baths in Vals


Thesis



Introduction This project aims to explore the power of sound on human perception throughthe manifestation of architectural acoustical phenomenon. Initially conceived as a chamber for sonic meditation, this exploration of sound delves into the sonic qualitiesof human spatial perception. Focusing on this aspect of perception, the project manifests itself as a laboratory dedicated to the neuroscientific study of soniccognition. Specifically, the relationship between sound and space will be investigated through the design of a series of chambers intended to use architectural acoustics to amplify and focus the human voice for the sake of eliciting a change in brain activity. These spaces would not only offer the potential for brain studies, but also provide asetting for sonic therapies currently used in medical care. On a tertiary level these chambers also act as spaces for sonic meditation, thus returning to the initial concept. Using the human voice as the source of sonic input, this project shall strive to manipulate the resonant and reverberant properties of architectural space to createan acoustic environment in which the user is immersed in a heightened field of sonicenergy. This thesis text, the research portion of such an endeavor, shall explore theneurological, physiological, and spiritual aspects of such a space. It shall be shown howsuch a controlled sensory experience may affect not only human perception but alsostates of consciousness. This project can be imagined as an experiment which crosses disciplinesbetween architecture, neuroscience, medical therapy, psychology, and theology. It is a sonic laboratory of the brain. It is a fine-tuned performance space for therapeutic music. It is a temple of sound. Above all, this project is a manifestation of the power of human breath. It strives to make utility of the mundane to give voice to the profound.

Neurology and Architecture Because of the direct relationship between brain functions and spatial perception, neuroscientific research and its clinical application through neurology offers a unique perspective into the way humans interact with architecture. Thisrelationship between neuroscience and architecture has resulted in the emergence of an organized push within these two fields to advance a body of knowledge pertaining to the neurological response to the built environment. This emerging body of research isonly now becoming possible due to advances in digital technology which have enabledthe neuroscience field to rapidly develop increasingly more complex understandings of the deepest levels of human perception.1 This is leading some in the field to turn their focus towards the nature of our experience of the built environment. This field of research is particularly potent as 90% of our lives are contained within architecturalspaces.2 In 2003 an official organization, The Academy of Neuroscience for Architecture, was created to advance the groundbreaking research and development of this field. Focused on the functional requirements of healthcare facilities, elementary schools, correctional facilities, sacred places, facilities for the aging, and neuroscience laboratories, the ANFA is building a body of cross-disciplinary knowledge.3 Of specific interest to the ANFA are five brain systems which are directly

1 ANFA Website “Mission,” The Academy of Neuroscience for Architecture, accessed November 10, 2012, http://www.anfarch.org/about/.2 Ibid.3 John P. Eberhard, “Applying Neuroscience to Architecture,” Neuron 62, (2009): 753-756.


impacted by our spatial environment. These systems are classified as: Sensation &Perception (how do we see, hear, smell, taste, etc.?); Learning & Memory (how do westore and recall our sensory experiences?); Decision Making (how do we evaluate thepotential consequences of our actions?); Emotion & Affect (how do we become fearful or excited? or what makes us feel happy or sad?); and Movement (how do we interact with our environment and navigate through it?).4 For the sake of this thesis investigation, we will focus on the Sensation & Perception system, and it is anticipated that the results will cross into the Emotion &Affect system. Once again speaking to the performative basis of this architecturalthesis, the goal of such an endeavor is to create a space which not only acts as thecontainer of such research endeavors, but also acts as the tool by which thisperceptual experimentation of space is explored. Because of this performative desire, a particular onus lies on the importance of the relationship between data in and data out. This process will be elaborated further in the section entitled DesignPotential/Role of Architecture.

Focused Interest: Sound Having aligned the interests of this thesis with the Sensation & Perception

system of inquiry, it is useful to further define such work within an even more focusedrealm of research. Embracing a single sense rather than all the senses may enable amore concise approach to this investigation. Here, our focus shall hone in on the sonicnature of the built environment.

While the visual experience of architecture is unquestionably the dominant of allsensual interactions, the aural experience offers some particularly rich qualities whichmay inform such an undertaking. Firstly, sound is specifically spatial in its nature and isthus characteristically tied to our architectural interests. Sound travels in all directions from its source and is entirely influenced by the size, shape, and material composition of its environment. This relationship between sound and container is so intrinsic to oursonic perception that they are virtually one-in-the-same.

“Listen! Interiors are like large instruments, collecting sound, amplifyingit, transmitting it elsewhere.”

- Peter Zumthor5

Secondly, the sonic environment is arguably the most naturally interactive perceptual quality of architecture. Despite the dominant role of visual perception, it remains a uni-directional process. Light is produced from a external source, travelsacross an architectural form, and is consumed by the eye. Within the sonic realm however, humans may enjoy a much more interactive role as the potential producer,manipulator, and consumer of the aural sensation. This intense engagement is sooften ignored in our built forms that we predominantly fail to even take notice of therelationship between sound and space within our daily movements.

4 Eberhard, “Applying Neuroscience to Architecture.”5 Mikesch W. Muecke and Miriam S. Zach, Resonance: Essays on the Intersection of Music and Architecture (Lulu.com, 2007), 260.e



“…[the] interconnection between humans and space is a dialogue that enables us to experience ourselves in the sound of the room.”

-Elizabeth Martin6

Finally, the role of sound in our spatial perception is indeed a powerful one. Though it may not always be obvious, the sonic environment has a drastic impact onhuman wellbeing. This is partially due to the fact that the human brain is hard-wired tonavigate the aural landscape. The ear enjoys three times more nerve connections tothe brain than the eye does7 and can decipher a range of sound from 20 Hz to 20,000Hz.8 The brain is constantly filtering through a world of sound in order to give theconscious mind an accurate understanding of its environment.9 In fact, if removed from the sonic landscape (as in an anechoic chamber), the brain struggles toaccommodate for the missing sensory input. The ear becomes hyper-sensitive, low-body sounds such as blood circulation and lung movement become audible, and withina matter of minutes mental wellbeing begins to decline; often leading to hallucinations.10

The sonic quality of the built environment is not only important for the inquiry of a thesis proposal such as this but also impacts our daily lives. Poor acoustics inclassrooms have been linked to a 50% reduction in vocal clarity from teacher tostudent. Many hospitals struggle with interior noise levels which are prohibitive tohealthful rest due to medical machinery noise. The urban soundscape has become adisaster zone of aural aesthetics.11 Though based in theory and experimentation, the implications of this body of thought reach into the built environment of our everyday experiences.

Potential for Sonic Therapy As seen, the sonic environment has a profound impact on human wellbeing. Though this impact is often negative, it is important to note that is not always the case. Just as negligent design bears the potential to be detrimental to quality perceptualexperience, the inverse is also true. In fact, attentive aural design not only presents anintriguing potential as a sonic laboratory, but may also serve as a therapeutic environment. A number of sound and music therapies exist in the medical world andincreasingly these are being used for the treatment of a variety of issues. Three suchtherapies are: Vibrotactile Stimulation, the exposure to physical sonic vibrations;Rythmic Auditory Stimulation, audio entrainment of physical movement (imagine

6 Elizabeth Martin, Pamphlet Architecture 16: Architecture as a Translation of Music (Princeton:cPrinceton Architectural Press, 1996), 27.7 Barbara Crowe, Music and Soulmaking: Toward a New Theory of Music Therapy (Lanham: ScarecrowPress, 2004), 110. 8 “Sensitivity of Human Ear,” Georgia State University, accessed December 12, 2012. http://hyperphysics.phy-astr.gsu.edu/hbase/sound/earsens.html9 John P. Eberhard, Brain Landscape: The Coexistence of Neuroscience and Architecture (Oxford:Oxford University Press, 2008), 197.10 “’Quietest Place on Earth’ Causes Hallucinations,” Tuan C. Nguyen, accessed October 22, 2012. http://www.smartplanet.com/blog/thinking-tech/-8216quietest-place-on-earth-causes-hallucinations/1115311 “Why Architects Need to Use Their Ears,” Julian Treasure, accessed September 14, 2012.http://www.ted.com/talks/julian_treasure_why_architects_need_to_use_their_ears.html


walking to a beat); and Sensory Integration, which is a multisensorial interventionfocused on controlling sensory input.12 The use of such therapies are currently found in medical treatment of autism, Alzheimer’s, dementia, palliative care, cancer treatment, hospice care, pain management, and numerous others. This field of treatment isapplicable to thousands of patients daily. Such sonic interventions are even more widely used in psychological therapy. Treatment of anxiety, stress management, anger issues, child development, and group therapy sessions all have successful histories in such applications. The beneficialnature of sonic therapy across the bounds of medical, psychological, and neurological frealms, makes it a popular practice in holistic healing approaches.

“…when we reflect on our aural experience, our response - both cerebral and emotional - is often highly charged, tangible, immediate andvisceral.”

- Geoffrey Thun13

“Buildings provide spaces for living but are also de facto instruments, giving shape to the sound of the world. Music and architecture arerelated not only by metaphor, but also through concrete space. Every building I have admired is, in effect, a musical instrument whoseperformance gives space a quality that often seems to be transcendent and immaterial.”

- Daniel Libeskind14

Spiritual Implications Building from the notion of a holistic (mind/body/spirit) approach to the use of sound as an environmental factor, we arrive at the third part of this equation. It isnoteworthy that the performative experience of such a sonic environment is sufficiently powerful to induce a sense of transcendence and immateriality (from the quote above). This speaks to the timeless interconnection of sound and spirituality as seen in therelationship between various religious architectures and the particular forms of musicassociated with them. Additionally, in the ancient worldview there was no separation between theexperience of sound and the experience of the Divine. Traditionally these were viewedas manifestations of natural truths along with mathematics and science; all serving as vehicles to the mystical experience. Here we define mysticism as the “immediate intuition of spiritual truths through direct union with the Divine.”15 It was this mysticalaffect which was believed by the ancients to be a result of the experience of mathematical purity in the form of sound combinations.16

It is this experience of the Sacred through the sound of space which was the initial motivation for this thesis idea, and indeed still serves as a theoretical subtextwithin this investigation. This potential for mystical experience is viewed as a byproduct

12 Crowe, Music and Soulmaking, 20.g13 Colin Ripley, Marco L. Polo, and Arthur Wrigglesworth, In the Place of Sound: Architecture, Music, Acoustics (Cambridge: Cambridge Scholars Publisher, 2007), 99.14 Muecke and Zach, Resonance, 172.e15 Crowe, Music and Soulmaking, 4.g16 Ibid.



of such acoustic performance and presents itself as the subjective nature of thisproject. As such, the architecture literally becomes the instrument of transcendent experience.

“…reverberant acoustics plays a fundamental role in conveying the‘sacredness’ of place…”

- E. Cirillo17

While somewhat less directly quantifiable than the therapeutic potentials of such a space, as we shall see in forthcoming sections the advances in neuroscience may speak to this spiritual experience in ways previously impossible. This is noteworthy based on the idea that though the spiritual experience has traditionally been unknowable and beyond scientific investigation, new advances in neuroscience and quantum physics are granting new perspectives on the nature of mystical experience.18

“The extreme reaches of science ultimately lead to spiritualism; the two are not necessarily different paths.”

-Barbara Crowe19

“…today modern science is proving to you that the whole existence is just a vibration of energy. Just 100 years ago, science believed in matter, but not anymore. Now, modern science has gone full-circle and deniesmatter. Modern science says there is no such thing as matter. Matter is just a make-believe thing -- it’s a relative existence. It is not a reality. Reality is just energy vibrating in different ways. The whole existence is just a vibration. Where there is vibration, there is bound to be a sound…we say the whole existence is just sound. We call this ‘Nadha Brahma.’ NadhaBrahma means the whole creation and the creator are just sound.”

- Sadhguru20

Return to Science Having now established the multiple potential uses of such a specific architecture, it is important to return to the discussion of executing such a design. By its very nature, this process shall rely heavily on quantifiable data, both as the initiator of design as well as the means for evaluating the effectiveness of various design iterations. To begin, it is useful to define the desired results and then define the path towards achieved them. Most simply put, we are striving to use architectural acoustics to achieve a change in brain function which can result in physiological benefits as well as create the potential for inducing spiritual experiences. From the neuroscientific perspective, our starting point for this endeavor is to strive for an

17 Ettore Cirillo and Francesco Martellotta, Worship, Acoustics, and Architecture (Essex: Multi-Science ePub. Co., 2006), 34. 18 Crowe, Music and Soulmaking, 292.g19 Ibid.20 “7 Notes, 7 Chakras: Music, Spirituality, and the Body,” Sadhguru, accessed May 21, 2012.http://www.huffingtonpost.com/sadhguru/spiritual-living-7-notes_b_628360.html


altered state of consciousness relative to normal brain function. This may beaccomplished in one means by manipulating the state of brain waves which helps tosynchronize the hemispheres of the brain.21 Alternatively, by either increasing or decreasing activity in specific regions of the brain, one may also begin to shift the functional state of consciousness.22

“An altered state of consciousness…involves the destabilization of ordinary consciousness and the establishment of another mode of awareness.”

-Barbara Crowe23

One means of classifying modes of consciousness relative to brain wave activity is by the frequencies associated with waking/sleep states. To clarify, measurable frequencies of brain waves define certain states of consciousness. Theseclassifications begin with the Beta state representing a normal wakeful mental state and lying within the frequency range of 13-30 Hz. As one relaxes towards sleep, the brain frequency slows to the range of 8-13 Hz and enters the Alpha state. Within the realm of sleep, the brain first experiences the Theta state between 4-8 Hz and finally the Delta state at a frequency below 4 Hz. The Theta state represents dreaming sleepwhile Delta is a state of deep, dreamless sleep.24 25

“The combination of frequencies your brain is producing determines orunderlies the state of consciousness that you are experiencing”

-Anna Wise26

Understanding the states of consciousness is one thing, manipulating them isanother. In order to affect one’s state of consciousness, there are two elements of influence needed. The first is a “destabilizing force”, or a stimulus which interrupts thenormal (Beta) state of consciousness. Once this has occurred, the second element or“patterning force” can be introduced to draw the brain into the desired state of consciousness.27 This patterning force presents the brain with the desired frequency,and through the process of entrainment (discussed below) the brain may be moved down through the range of states. Both of these agents (destabilizing and patterning)occur through changes to sensory input. Some examples of this are sensory overload, sensory deprivation, unusual input, and extended sensory exposure.28 These are thetools of manipulation this project will use to attain its desired goal. As we shall see, studies have shown that these shifts in sensory experience depress left hemisphere activity, hyper-activate right hemisphere activity, and draw the brain into therapeutic

21 “Scientific Research - Brainwave Entrainment,“ Michael Mackenzie, accessed November 12, 2012.http://www.project-meditation.org/community/learn-how-you-can-benefit-project-meditation/29-scientific-research-brainwave-entrainment.html22 Ian A. Cook, Sarah K. Pajot, and Andrew F. Leuchter, “Ancient Architectural Acoustic ResonancePatterns and Regional Brain Activity,” Time and Mind, Volume 1, Number 1, (2008): 95-104.23 Crowe, Music and Soulmaking, 308.g24 Ibid., 309.25 “Brainwave Entrainment,” Mackenzie.26 Crowe, Music and Soulmaking, 309.g27 Ibid., 316.28 Ibid.



states of consciousness. Historically, these states have been induced through a variety of means. Somesuch examples are the use of drugs or psychoactive agents, sensory stimulation or deprivation, physical exertion, fasting, inducing physical pain, and controlled breathing. Additionally, the use of sound (and its complex manifestation in music) has also beenused to alter consciousness since the oldest evidences of human existence.29 Througheliciting such modes of shifting consciousness, humans throughout time have sought the therapeutic qualities of such altered brain states.

“One study measured brain wave production in subjects chanting “OM.”Singing the syllable OM led to the appearance of theta and delta rhythms as well as increases in the amplitude of alpha and beta activity.This combination of brain waves is typical of a meditative state of consciousness.”

-Anna Wise30

Disruptive Force: Sonic Deprivation As stated above, a number of potential manipulations of sensory input exist which would suffice to act as a disrupting force for our purposes. Considering theheightened, immersive sonic qualities which will come to be identified as desirable forthe main sonic chamber, a contrasting approach might serve as the strongest disruptive force just before entering the chamber. Put simply, sonic deprivation wouldlikely be the best choice for a disruptive force in preparation for a sonically heightenedpatterning force. In this case, a sonically void space (such as an anechoic chamber)would serve as an effective threshold to prepare the user for a sonically immersive space within the main chamber. Patterning Force: Extended Sensory Exposure By the very nature of the use of such a chamber, the user would be exposed tosonic sessions of a duration deemed suitable by either the user or the referring doctor. yObviously these sessions would be longer than a few mere moments, and as the lengthof time increased to a suitable level, the sonic immersion would reach a point of duration which would qualify it as an Extended Sensory Exposure.

Patterning Force: Sonic Immersion (Resonance) The second patterning force which this project seeks to employ is an immersive sensory stimulation. By creating a space in which the sonic properties of the user’svoice(s) are increased and refocused, the architecture would function to surround the user in an energized field of sonic energy. The two main acoustic properties whichwould lead to such an environment would be the room’s resonance and the room’sreverberation. The resonance of a given space is here defined as the frequency at which thematerial surfaces of a structure vibrate with the greatest intensity in response to an external acoustic stimulus.31 The resonant frequency of a room is predominantly a

29 Crowe, Music and Soulmaking, 313.g30 Ibid., 316.31 “Resonance,“ Dictionary.com, accessed November 22, 2012. http://dictionary.reference.com/browse/resonance


result of the material properties of the reflecting surfaces. In the simplest of terms, aroom’s resonant frequency is the note to which the space is ‘tuned’. Quite literally, thisfrequency can be stated as a note from an audible scale (ie. B flat, E). This is a vital design consideration because sensory immersion of a single tonemay have profound effects on the state of consciousness for the user. In 2008, Dr.IanA. Cook (UCLA Brain Research Institute, David Geffen School of Medicine) published astudy entitled Ancient Architectural Acoustic Resonance Patterns and Regional Brain Activity. In this study, Cook studied the affect that resonant tones have on regional brain activity. It is noteworthy not only due to the findings, but also because the toneswere derived from the resonant frequencies of a number of prehistoric architecturalsites. These frequencies all lie within the human vocal range, and it is believed this was an intentional effect based on the ritualistic use of such sites and the likeliness of sacred chanting occurring in them.

Cook found that when exposed to certain vocal frequencies the brain undergoes rather specific shifts in regional activity. The left temporal region of the brain becomes “significantly less active” while the dominance of the left prefrontal region shifts to the right prefrontal region.34 This means that the language centers of the brain become dormant while the areas of the brain associated with tone and emotional cognition become hyper-active.35 It is speculated that these shifts in brain function are conduciveto mystical experiences, though further neuroscientific studies are warranted.

Patterning Force: Sonic Immersion (Reverberation) The second acoustic property which will aid in the creation of such a sonically immersive space is room reverberation. Reverberation (reverb), here defined as therepetition of a sound resulting from the reflection of sound waves, is experienced inhow long a sound will echo in a space after the source is removed. This characteristicis a function of the built form’s overall shape and volume. Generally speaking, flat

32 Robert Jourdain, Music, The Brain, And Ecstasy: How Music Captures Our Imagination (New York: William Morrow Paperbacks, 1998), 52.33 Ibid., 57.34 Cook, “Ancient Architectural Acoustic Resonance Patterns.”35 Cook, “Ancient Architectural Acoustic Resonance Patterns.”

Before moving further, it would be beneficial to briefly cover a fewspecifics on how the brain ‘hears’. Sound is initially experienced symmetrically across the two hemispheres within a region of the brain called the primary auditory cortex, found within the temporal lobe on either side of the brain.32 Theleft ear sends its signals to the right primary auditory cortex and vice versa forthe right ear. From here, sound is then ‘experienced’ in the secondary auditory cortex which surrounds the primary cortex. This function is not symmetrical. Infact the right secondary auditory cortex focuses on harmonics, tonal range,and overtone richness while the left focuses on rhythmic variation and is thus the seat of language within our brains.33 Also associated with the interpretationof sound is the prefrontal region of the brain which controls our high-brainedfunctions such as morality and decision making. Here again, the left portion (normally dominant) renders certain logical underpinnings while the right affects emotional bases.



parallel walls tend to bounce sound back and forth thus increasing reverberation. Incontrast, misaligned surface orientations tend to scatter and diffuse sound, minimizingreverb. Additionally, large spatial volumes tend to hold reverberation longer than small spaces. Note that while materiality was considered a factor in the resonant qualities of a space, it is also a major factor in the reverberation because dense materials tend to reflect sound better than soft or porous materials. It is easy to see how the two sonic qualities (resonance and reverberation) are hard to consider separately. Coupled with the focus on reverberation is the aspect of wave interference. Astwo sound waves interact, their wavelengths and amplitude affect the sonic perception of the sound within the space. When two matching waves meet, the result is constructive interference. This is experienced as an increase in loudness in the sound. If the waves do not match in length and amplitude, then destructive interference occurs resulting in a decrease in loudness of sound.36 By correctly orchestrating the acoustics of a space, the designer may use longreverberation times to ensure that a vocal tone will linger in a room so that the usermight then harmonize along with their own echo. If matching tones are used,constructive interference will take place thus amplifying the sound of their voice. The architecture then becomes an instrument for the user. Additionally, this amplification of the user’s vocal energy may result in vibrotactile immersion, the state of physically feeling the vibration of the sound waves. This delivers the functional elements for the sonic therapy previously mentioned as Vibrotactile Stimulation. Here again, the architecture (as instrument of the voice) acts in the active process of creating such a sonic environment. The last note regarding the reverberant qualities of such a space is an aspect of imperfection. It is likely that most users of such a chamber would lack the ability to find and maintain perfect pitch. While the resonant characteristics of the space wouldlead the user to tune their vocalizations to the room’s frequency, it is safe to assumethat most users will sway within a close range of the specific tonal frequency. To be clear, though it may sound like they are singing an A note at 440 Hz, they may actually be oscillating anywhere between 432 Hz and 448 Hz (for instance). While audibly theseparation between these frequencies is not noticeable, an additional sonicphenomenon is created. As the singer vocalizes at a slightly different frequency fromtheir previous reverberation, the two misaligned sound waves interact. The slight difference creates a rhythmic pattern of intensity peaks in accordance with thefrequency difference of the two waves. For example, Jane sings an A at 440 Hz for the duration of her breath. As sheinhales, the 440 Hz A remains audible due to the chamber’s extreme reverberation. As she begins the next note in harmony with her previous tone, she actually vocalizes a bit flat at 435 Hz. Jane’s ears cannot tell that she is slightly off key (unless Jane hasperfect pitch) so she holds the 435 Hz note until she begins the next breath cycle. What occurs is that the resulting sound has a rhythmic spike in volume at 5 beats persecond (5 beats per second comes from the difference in frequencies: 440 Hz - 435 Hz = 5 Hz). While her ear may not notice this rhythm, Jane’s brain certainly does.

Patterning Force: Brain Wave Entrainment This effect is called beating (as it creates a beat), and the resulting rhythm is

36 Crowe, Music and Soulmaking, 55.g


called a Binaural Beat. This Binaural Beat functions to create Brain Wave Entrainment which is a term used in psychoacoustics referring to the effects of a repetitive sound pattern on the wave patterns of the brain.37 In effect, the brain senses the 5 Hz pattern of the Binaural Beat created from Jane’s chanting and begins slowing its brain wave patterns to synchronize with the Binaural Beat. You should note here that the 5 Hz beat will lead the brain to a Theta state (4 Hz - 8 Hz as previously discussed) thus shifting Jane’s state of consciousness towards the dream state. Brain wave entrainment to sound has been researched extensively by theMonroe Institute as modes of sonic therapy.38

Patterning Force: Harmonics The last patterning force we will highlight is the sonic quality of harmonics. Key to this understanding is the knowledge that each tone we hear is actually a number of overlaid frequencies. When a violin plays an A note at 220 Hz, not only do we hear the fundamental frequency (220 Hz) but we also hear the violin’s overtones which aremultiples of the fundamental (thus, 440 Hz, 660 Hz, 880 Hz). These notes are weakerin strength and thus sound less loudly than the fundamental, however, their presenceadds to the richness of a tone, known as timbre.39 40 The timbre of an instrument is aresult of the complexity of its form, thus a drum has low complexity while a violin has a notable richness of sound. This sonic characteristic is important to our neurological approach because of the affect it has on the brain. While pure-frequency tones (electronically made) are processed equally on both sides of the brain, overtone-rich tones are processedpredominantly in the auditory cortex of the right brain. Immersing the brain in anovertone-rich sensory input results in a relative deactivation of the left-brain auditory cortex and stimulation of the right-brain auditory cortex. As previously stated by IanCook’s research, this results in a shift in consciousness towards the emotional centersof the brain. Luckily for our endeavor, the instrument of sound creation (the human voice) isparticularly rich in overtones. As stated, the instrument’s complexity defines thetimbre, and the human vocal process builds its richness by the layers of resonantchambers composing the throat, mouth, and nasal passages.41

One other advantage of using such an overtone-rich sound source is that thecomplexity of the sound also enhances the ability to create brainwave entrainment. Overtones have a magnifying effect on the beating of dissonant frequencies and thus amplify the binaural beat within such a chamber.

Design Potential/Role of Architecture Having established in great detail the potentials of sonic manipulation for thisresearch, lets consider the architectural implications. Historic examples may help toexhibit that while this project may be unconventional, the acoustic qualities is seeks toembody (disruptive and patterning forces) are not unprecedented. Regarding the resonant tuning of spaces, most constructions have a resonant

37 Crowe, Music and Soulmaking,145.g38 Ibid.39 Jourdain, Music, The Brain, And Ecstasy, 102.y40 Ibid., 36.41 Ibid., 40.



frequency simply as a result of its construction method and materiality. There arehowever cases where the resonant frequency of space becomes a key design element. In the 6,000 year old Hypogeum Hal Saflieni located in Paola, Malta, the OracleChamber is a ritual space specifically tuned to an A tone at 110 Hz. Portals in thestone walls allow the chanted frequency from the Oracle Chamber to fill the entireunderground structure with the immersive sound of this tone, and it is believed thisresulted in the shifts in brain function previously covered. In a more contemporary example, the Cromatico project in Estonia, built in 2011, is a series of concrete chambers, each tuned to the frequency of a particular note along the chromatic scale. In both of these examples, the size and shape of the rooms coincide with thewavelengths of the desired tones, while dense construction materials work to reflect the tone back to the user. Reverberation is also a quality present in every constructed space, but onceagain, there are specific examples where the reverberant qualities of a space areparticularly informative to this investigation. The Baptistery of St.John in Pisa, Italy,exhibits a reverberation time in the range of fifteen seconds. This quality of space ishighlighted throughout the day as workers will periodically chant a series of consonanttones, effectively harmonizing with the resonant sound of their own voices. Strongreverberation can also be found in unexpected locations. Radar domes are known tobe quite advanced wave controlling constructions creating intense reverbphenomenon. Taking reverb to its furthest extents, the Dan Harpole Cistern in Port Townsend, Washington, is an incredible example of accidental reverberation. In the space which used to hold two million gallons of water, musicians enjoy a reverberationtime approaching forty five seconds! In both of these examples, spatial volume along with formal arrangement and material reflectivity (acoustically speaking) combine tocreate exactly the effects this project seeks. As seen, an understanding of the architectural implications on soniccharacteristics may act as the designer’s toolkit as this project is initiated. Crucial tothis design intent is the data in/data out relationship. The performative nature of sucha space requires a level of rigor in both the design initiation as well as in assuring theresults. At the onset of the design, specifics of formal order, scale, spatial volume, and material characteristics must be rigorously explored and documented. From thisprocess, a system of verification is required to ensure that the reverberation andresonant qualities are indeed manifest in the designed space. A good example of such a process can be found in the work of Brady Peters. Both in his professional endeavors as well as his current PhD research, Brady beginswith a desired acoustic effect, designs according to the resulting acoustic properties,and then uses a series of digital analysis software along with scaled physical modelinganalyses to test iterations of design. Once optimized, the modeling is then translated into built form using both digital and analogue construction methods. This is theexemplary form of the previously termed Data In/Data Out relationship. Results Obviously this project crosses numerous fields of advanced research and it isthese sets of data that shall form the basis from which the design shall be initiated. Aspreviously stated, the project is a series of chambers intended to facilitateneuroscientific study. These chambers will vary in size and shape depending on desired acoustic phenomenon and occupant capacity. At least one of these chambersshall be quite large (approaching 5,000 square feet) in search of a reverberation timenear 30 seconds. These chambers will be supported by auxiliary spaces such as lobby,


circulation, anechoic threshold, restrooms, and mechanical spaces. Additionally, a number of research laboratories will be included in the project, each having its own set of auxiliary spaces. Given these program considerations and the desired uses of the space, arather specific set of site selection criteria exists. An institution which could make useof such a neuroscience lab would be necessary. In addition, the sonic therapy aspectrequires some relationship to a medical institution which has a music therapy program. Finally, the aural environment of any potential sight would present a specificset of parameters which the project would need to address. Considering all of these issues, the site for the project shall be on the campus of The Rockefeller University in New York City. The Rockefeller University is a leading institute in biomedical research and hosts the F.M. Kirby Center for Sensory Neuroscience. This interdisciplinary center also addresses the sonic therapy aspect as the university acts as a research hospital. The opportunity for use as a sonictherapy space is compounded by the Memorial Sloan-Kettering Cancer Center locateddirectly across York Avenue from the sight. This cancer center offers music therapy as a palliative care and pain management treatment. Across the perpendicularbordering street (East 68th Street) is the Weill Cornell Medical College which contains across-disciplinary Music and Medicine Initiative. Furthermore, the New York Presbyterian Hospital also occupies the same block. This hospital offers a Music Therapy department as an amenity to its patients. The urban nature of the site presents a set of sonic qualities which shall requirea calculated approach.


Referenced WorksThe following works have provided data, methods, ther-

oretical underpinnings, or inspiration to this project.



Hazrat Inayat Khan. The Mysticism of Sound and Music (1991) Print. This work of Sufi Mysticism draws clear distinctions between mystical theology and sound. In it Khan beautifully articulates the perceived relationships between the spirit, the universe, and acoustic resonance as the experience of Ultimate Reality. While I had long held a belief in the role of sound in the mystical under-standing of reality, this work helped to better defi ne my understanding of that relationship.

Robert Jourdain. Music, the Brain, and Ecstasy (1997). Print. With an elegant writing style, Jourdain takes the reader through many fi elds of study in order to draw a complete understanding of the psychological and physiological experience of sound and music. Topics include anthropology, history, philosophy, music theory, wave physics, anatomy, and neurology…all interwoven with interesting narrative which helps to further develop the understanding of the theories laid forth. In this work, the most broad basis of resources regarding the physiological eff ects of sound can be found in my research.

Jamie James. The Music of the Spheres: Music, Science, and the Natural Order of the Universe (1993). Print Moving into the realm of philosophy, The Music of the Spheres catalogues a linear history of the idea that the universe is governed by laws shared with the harmonic relationships of sound. Traveling through most of western history, James introduces the reader to the works of Pythagoras, Plato, and Clement of Alexandria…all the way to Sir Isaac Newton and the development of the scientifi c process. Here one can understand the long tradition of thought behind the idea of musical ratios governing the universe at large.

Ian A. Cook, Sarah K. Pajot, and Andrew F. Leuchter. Ancient Architectural Acoustic Resonance Patterns and Regional Brain Activity (2008). Print. In this paper written for the neuroscience community and published in the periodical Time & Mind, Dr. Ian A. Cook presents the results of a study into the archaeoacoustics of various prehistoric architectural sites; namely the Hypogeum Hal Safl ieni in Paola, Malta. The study reveals that the Oracle Chamber of the Hypogeum has an acoustic resonance which coincides with the frequency 110hz (A). Additionally, the brain’s exposure to this particular frequency results in shifts in brain activity within the auditory cortex. It is specu-lated that these shifts in neurological activity may result in a heightened sense of spiritual awareness, thus facilitating the mystical experience for the chamber’s users. In a 6,000 year old temple, these fi ndings are quite astounding.

Evan Grant. “Making Sound Visible Through Cymatics” TED: Ideas Worth Spreading Available at: http://www.ted.com/talks/lang/en/evan_grant_cymatics.html In this TED talk from summer 2009, creative-technologist Evan Grant discusses his work in the fi eld of cymatics. Cymatics is the “process of visualizing sound” and forms one of the sources of inspiration in Grant’s installation art pieces. Considering my desire to move beyond the theoretical potential of manifest sound into the realm of performative acoustical properties, the prospects of cymatics carry a huge weight in my intended research.


Colin Ripley, Marco Polo, and Arthur Wrigglesworth. In the Place of Sound: Architecture I Music I Acoustics (2007). Print

This book is a compilation of works which were presented at the Architecture I Music I Acoustics conference held at Ryerson University in Toronto, Canada, in 2006. The conference brought together specialists from the fi elds of music, acoustics, and architecture to discuss the convergence of these three interests. Topics ranged from architectural acoustics, urban soundscapes, sound installations, and sound/music as a design element.

Mikesch W. Muecke and Miriam S. Zach. resonance: Essays on the Intersection of Music and Architecture (2007). Print

Also a product of the Architecture I Music I Acoustics conference held at Ryerson University, this book compiles essays regarding the intersection of sound and space. Beyond the usefulness, of the previous book, this work is more specifi cally focussed towards the idea of architecture as instrument. Another major element within this book is the historical lineage of such investigations.

Brandon LaBelle. Background Noise: Perspectives on Sound Art (2006). Print Written from the perspective of installation art rather than architecture specifi cally, this book pres-ents a body of sound art pieces from modern history. This work served to introduce my research to a variety of perspectives on the use of sound as an artistic medium. Previously unknown artists were found in this book, and the scope of avant garde sound art was enlightened.

Barry Blesser and Linda-Ruth Salter. Spaces Speak, Are You Listening?: Experiencing Aural Architecture (2007). Print This book is a call to action for architects, based on the notion that aural lanscapes have been ne-glected in contemporary architectural discourse. Here is found the most complete historical lineage of ar-chitectural acoustics I have found to date, spanning from prehistoric times through the beginning of the 21st century. The authors focus on spatial awareness as it relates to our buildings and the role that has played in acoustically performative spaces.

John Paul Eberhard. Brain Landscape: The Coexistence of Neuroscience and Architecture (2009). Print As a key fi gure in the creation of the Academy of Neuroscience for Architects, and the only archi-tectural member of the Society for Neuroscience, John Eberhard is a leading voice in the convergent fi eld of architecture and neuroscience. This seminal book concerning the convergence of these fi elds from the architecture perspective puts forth the basic ideas behind approaching such an idea through research and practice. The groundwork found in this book heavily informed the scientifi c basis this project relies on to defi ne its path into neuroscience.



Elizabeth Martin. Pamphlet Architecture 16: Architecture as a Translation of Music (1994). Print. This edition of the Pamphlet Architecture series brings together major contributors to the conte-porary interest in the convergence of sound and space. Through writings by leaders in this topic, graphic research and collage techniques, and specifi cally focussed case studies, Martin creates a compelling cross-section of the topic. Works and writings by Bernard Leitner, Steven Holl, John Cage, and Michael Brewster make this compilation invaluable to this body of research.

Sigurd Bergmann. Architecture, Aesth/Ethics & Religion (2005). Print. This book serves as a dynamic look at the transcendent characteristics of architecture. An emphasis on contemporary spiritual spaces presents the reader with an understanding of the search for the ineff able in present day constructions. Including infl uences such as Tadao Ando and Kenneth Frampton, this book inspires the designer towards ideas of design execution.

Ettore Cirillo and Francesco Martellotta. Worship, Acoustics, and Architecture (2006). Print. This book is a research project focussed on the survey of architectural infl uence on acoustics of Italian Cathedrals. It fi rst lays out a brief history of religious acoustics and then analyses the elements of sound which were to be studied. The authors then compiled information about 34 churches and cathedrals ranging from Gothic, Renaissance, Baroque, and even contemporary examples. The fi ndings informed ideas regarding formal arrangement and the relationship between architectural space and the eff ects of rever-beration and resonance.

R. Murray Schafer. The Tuning of the World: A Pioneering Exploration Into the Past History and Present State of the Most Neglected Aspect of our Environment: The Soundscape (1977). Print. In one of the best known works related to the fi eld of interest at hand, Murray Schafer writes about the conditions of the urban soundscape in the 1970’s. This work impacts city planners, urban designers, and architects alike as it is the works of such professionals which creates the conditions Schafer describes in the book.

Lindsay Jones. The Hermeneutics of Sacred Architecture: Experience, Interpretation, Comparison. Volume 1 Monumental Occasions: Refl ections on the Eventfulness of Religious Architecture. (2000). Print. Jones’ work applies the process of hermeneutics to a reading of the signifi cance of architecture within the religious realm. Beyond merely interpretive meaning applied to a building, this reveals the role of the built environment as a manifestation of sacrament and ritual. This lends itself to understanding the orchestration of any experience of refl ective signifi cance and thus should come to bear on the design of the procession through the intended experience of this project.


Hans Jenny. Cymatics: A Study of Wave Phenomena and Vibration (2001). Print This book is a compilation of the original works of Hans Jenny documenting his research into the study of waves and vibration. Presented is a striking body of work showing the geometric forms created through wave motion in various media. This serves as inspiration for the initial design process, driving an inquiry into the potential use of sound as a physical design element. It is conceivable that architectural forms derived from non-abstracted manifestations of wave phenomenon might embody such space with similar phenomenal potential.

The Academy Of Neuroscience For Architecture. Neuroscience Laboratory Design Workshop (2006). Print This publication is a synopsys of the results from a ANFA sponsored workshop in Washington D.C., focussed on the neurological aff ects of eff ective design for a neuroscientifi c laboratory. Covering issues such as scopic connectivity, spatial organization, private vs. public, and circulation issues, the workshop attepted to create a series of best practices particular to the specifi ed program. This information may inform the laboratory components of the thesis project.

Eve A Edelstein, PhD, Associate AIA. Neuroscience and the Architecture of Spiritual Spaces (2004). Print This study was conducted through support from The Interfaith Forum on Religious Art and Architec-ture, The American Institute of Architects, and the Academy of Neuroscience for Architects. Edelstein, a specialist in the fi eld of neuroscience and architecture, along with numerous peers visited religious sites in Columbus, Indiana, particularly the First Christian Church By Eero Saarinen. The study evaluates the phe-nomenal perceptions of the spiritual space, identifi es signifi cant eff ects manifest through the architecture, then analyses the neurological underpinnings of such experiences. These eff ects and the resulting aff ects may inform a design as elements of experience known to evoke signifi cant responses.

John P. Eberhard. Applying Neuroscience to Architecture (2009). Print This essay, featured in the Neuron 62 publication, presents the basis for the creation of the Academy of Neuscience For Architecture. Through case studies and analysis of neuroscientifi c research, Eberhard lays forth the topics of research used as the neuroscientifi c basis for this thesis.

Brady Peters. Parametric Acoustic Surfaces (2009). Print This essay explores the potential for parametric design processes to respond to acoustic variables, enabling the design of acoustically responsive surface conditions. Through a series of design itterations and analyses, Peters exhibits the ability to create performative designs based on acoustic testing. This shall serve as the process of exploration for the research through design in the spring semester.



Brady Peters and Tobias Olesen. Integrating Sound Scattering Measurements in the Design of Complex Architectural Surfaces (2010). Print. Peters and Olesen show the process and value behind integrating quantifi able testing into the design process of acoustic architectures. In their particular case, they are interested in sound scattering, but a simple modifi cation of approach would enable the research to focus on sound focusing, reverberation, or res-onance. Specifi c means for analysis are included in their work which shall serve to be benefi cial in the design phase of this thesis.

Brady Peters, Martin Tamke, Stig Anton Nielsen, Soren Vestbjerg Andersen, and Mathias Haase. Respon-sive Acoustic Surfaces: Computing Sonic Eff ects (2011). Print. This essay documents the design and testing of acoustically responsive architectural installations. The process focusses on the process behind manifesting specifi c acoustic phenomenon and then checking the eff ectiveness of a design through digital modeling and analysis, prior to construction. This shall serve as a model for the process of design behind the resulting thesis in the spring semester.

Julian Treasure. “Why Architects Need to Use Their Ears” TED: Ideas Worth Spreading Available at: http://www.ted.com/talks/julian_treasure_why_architects_need_to_use_their_ears.html In the summer of 2012, Julian Treasure spoke at the TED conference about the plaque of neglected soundscapes on our lives. He discusses the issues in design which make classrooms, offi ces, and hospitals unhealthy aural environments. Some of these statistics are present in my research as these issues relate to the topic at hand.


Precedent StudiesThe following projects exhibit the manifest form of one or

more of the qualities desired in this project.



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Second WindThis project by James Turrell exhibits the meditative qualities deemed desireable for thie thesis. Through

site integration, control of scopic progression, and austere materiality, Turrell is able to create a space

which captures the ineff able qualities we seek.



Le Cylindre SonoreThis installation by Bernhard Leitner within the Park de la Villette in Paris, is one of his best know works. This sonic pavillion uses siting to fi rst remove the listener from the normal aural environment. Upon crossing the threshold into the cylinder, the listener is then exposed to a sonic

environment of Leitner’s creation.


Similarly to the previous examples, Leitner’s choice to isolate the user’s exerientialinput manifests itself in his site approach. The cylinder is placed at the level lowerthan grade to eff ectively remove the user from the extended site. This move, along with vegitation choice (bamboo grove), isolates the users within an acoustically ce (bamboo grove), isolates the users within an acoustically controlled context. IIt is then that the designer introduces the experience he hasdeemed important.

TiTiiiittltlllltlee:e:e:e:ee:e:e: LLLLLLLLLLLLe e e e eeeee yCyCyCyCyCyCyCCyCCyCyCyyyyyyCyyylililililiillill ndndnndndndndndddndnnndnn rerererererereeee SSSSSSSonononooonnnororororororeeeeeeeeeDeDeDeDeDeDeDeDeeDeDDeDDeD sisisisissisis gngngngngnnnngnerererrerererrrererrrrrrrrrrrrrr: : : ::: BeBeBeBeBeBeBeBeeeeeeeeeeeeeernrnrnrnrnrnrnrrrr hahahahahhahaaaaahhh rdrdrdrdddrdrdddddrddddddddddrdrddddddddddddrddd LLeieiitntntntnnnnneerererererPrPrPrPrPrPrPrPrPrrrogooogogoogogooogogogoooo rararararram:m:m:mmm:mm SSSSSSononononnonoononnononnnnnnonoo icicicicicicicci PPPPPPPPPPPPPPavavavavavavvavavavvillilililllililillililiiiiiiii ioioioioioioioioiooionnnnnnnnnnLocation: Park de la Villette - Paris, FrancccccccccccccccccccccccccccceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeDate: 1987



Once immersed in the acoustic isolation created by the site strategy, the user experiences Leitner’s rigorously articulated acoustic environment. These are some of Leitner’s studies to that end. (this page and opposite)


The acoustic performance of this space was a critical design element from the project’s inception. For this reason, this precedent serves as a useful study both in site negotiation as well as its theoretical intentions and principles.

Title: Le Cylindre SonoreDesigner: Bernhard LeitnerProgram: Sonic PavilionLocation: Park de la Villette - Paris, FranceDate: 1987



CromaticoThis sonic pavilion in Estonia is a perfect example of the

way in which spatial articulation can orchestrate the reso-nant qualities of a construction. Each chamber within this construction is tuned to a particular note an a chromatic

scale. This is accomplished strictly through material selection and formal arrangement.

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This pavilion was designed based on an F chromatic scale. The 12 spaces of thepavilion each correspond to a pitch along the scale from 88hz (F) to 164hz (E).



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Son-O-HouseThis sonic pavilion is a direct experiment in the aff ect of aural envi-ronments on visitors. A series of 20 speakers are placed through-out the installation. As a visitor travels through the space, sensors

map their path, while an audio program adjusts the speaker output either through consonant or dissonant tones, aimed at attracting

or repelling the listener.



AeolusThis sonic pavilion harnesses the power of wind based on the princi-ples of an aeolean harp. The tubes amplify and direct the resonant

frequencies created by the vibration from the wind. The double curved surface of the interior surface focusses the sonic energy to

a listener who stands at it’s center.


Title: AeolusDesigner: Luke JerramProgram: Acoustic Wind PavilionLocation: variesesDDDDDaDDaDaDDDDDDaDDDDDDDDaDDDDDDDaDDDDDDaDDatete: 202009



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The interior polished sur-faces of the stainless steeltubes create sonic andvisual portals to the context.These points of experiencechange throughout the daydepending on the pavilion’s location.

AAAs ttheh wind trtrtrtrtrrrrtrrravavavavavavavavaaa eleleleleleee s ssss across the exterior edge of each tututubee (as well as paaaarararaaaraa tittt cularly placed cables) the vibra-tion is captured and amplifi ed via the tubing. The double curve of the interior structure of the pavilion focusses the acoustic energy onto the observer.



IntegratronLocated in the Mojave Desert, the Integratron is a quirky construc-

tion with incredible acoustic phenomenon. Built by George Van Tas-sel, the building features an all wood, acoustic dome which creates an intense sonic experience for visitors. The reverberant qualities of the space make it an ideal setting for sonic meditation sessions,

as it is used currently.


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The dome of the Integratron actsssssss aaaaaaaaaasssssssssssssssss aaaaaaaaaaaaaaa a foffofofofofofoofofofocucucucucucucuuucuucucucusesesesesesesesesesessesseserrrrrrrr r ofofofofofoffofofofoffoofoooofofffoooooo acoustical energy for the user. Frrorooororooroooroooomm mmmmmm wiwiwwiwiwiwiwiwiwithththtththththtththtt inininininininn tttttttttthehehehehhhehheh mmmmmmmmmmmmmmmmmmmmeeedeeeedededededededeeeeeee itititittitittta-a-a-a-a-ation space of the Integratron, theeeeee ccccchahahahahahaahahah ntntntnntnttntnn ereeeererererererre eeeeeeexpxpxpxpxpxpxpxpppxxxpxpeererereererieeeeiiiencnncnccncncncnccnnnceseseseseseseseeee aaaaaa totally immersive sonic space. The energy of your vocalhhhh ffffffff llllloutput is amplifi ed and redirected so as to be felt with a high level of intensity. This eff ect has led to the spacebeing used for Sound Baths a sort of sonic immersionbebeiningg ususeded fforor SSououndnd BBatathshs, , a soortrt oof f sosonin c immmeersrsioonnfoforr ththe sasakee oof f memediditatatitiveve/s/spipirir tuualal eexppx ereriiencn e.e



SmartGeometry 2010Building on the body of research Brady Peters has conducted in

recent years, this installation is a manifestation of acoustically responsive form. The articulation of the surface features as well as the direction and curvature of the overall shape creates a variety

of acoustic situations depending on the listeners position. This may act to directly inform my process of designing acoustically respon-

sive forms.


This installation for the SmartGeometry Conference 2010 began with the premise of creating a variety of spatial-acoustic conditions through the delineation of a simple form and articulation of its surface characteristics. As seen in these sketches from Brady Peters and his team, the formal implications as well as the performative nature of the parametric surfacing were implemented with spe-cifi c acoustic goals.



This project serves as a precedent for the itterative design process by which I intend to realize my research. The works ofBrady Peters act as an exempliary process of investigating acoustic properties through parametric evolutions.


TTitle: Manufacturiiingngggn PPararrraamama eetetriririr c cc AcAcouststtticicicic SSSurururrfafafaf cecececcc sss - SmmarartGeomemeetttrtrtryyy 20202020201010101010Designer: Brady PPeeetetetetersrsssProgram: Acoustically Active Installationcaccc lllyy Acccctititiveveve IInsnstallatatioonnLocation: Barcelona, SpainDate: 2010



Project Distortion IIAnother experiment of acousticly responsive design from Brady

Peters’ body of work, Project Distortion II again embodies acousti-cally performative design through formal manipulation and surface

articulation.


A AA AAAA sis milar investigatatttttttioioioiionnnn nnnnn tootootoooooooooo ttttttttttttttthhhhhhhhehehhhhehhhehheheheheh PPPPPPPParararaaararammaamamammetetttetririiiriirir cccc AcAcAAcAAcAcououo stststicicicc SSururrfaffaafafa eececececessss prprprpp ojojojjececececectt,,t,t, Distortion II acts as an acoustic modifi er within an already existant DDDDiDDiiDiDDDDD ststsss ortion II acts aasssssssss anaaaaanananann aacoc ususstiiiicc modiififiereer wwwwititithhinnnnnnnn ann aaalrlreaeaddy existststananaa tacoustic environment. Where as this is smaller than my intended scope of research, the rigor of process and execution still serves as a functional, g p

the applications of acoustic proper-prprprprprecececececedededededenenenenentt.ttt AsAsAsAsAs aaaaa pppppieieieieiececececece ooooofffff thththththeeeee whwhwhwhwhololollolollee,eeeeeeepect of the intended fi eld of investiga-ties to parametric surfaces is one asppp

tion for my project.

Title: Project Distortion IIDesigner: Brady PetersProgram: Acoustically Performativvvvev InstattallllatatioiooonnLocation: Copenhagen, Denmark;;;; SStotockckhohoholmlmlmmm, SwSwSwwededededdenenenenenDate: 2011



Hypogeum Hal Safl ieniThis architectural ruin exceeding 5,000 years in age contains an

acoustically signifi cant space within its underground chambers. The Oracle Room is specifi cally tuned to a pitch which triggers complex

changes in neurological processes, resulting in shifted states of consciousness. The scientifi c studies of Dr.Cook (previously dis-

cussed) touched on data taken from this site.


The Hypogeum Hal Safl ieni contains a enigmatic ancientarchitectural relic. An Oracle Room, some 5,000+ years old,stands in perfect condition under a neighborhood in Paoloa,Malta. Within the Oracle Room, a deep voice chanting at110 hz (a low A tone) matches the sacred room’s resonant frequency creating a strong standing wave. This phenom-enon creates an intense reverberation which is then carriedthroughout the entire temple complex as an omnipresent aural element. A hole in the limestone wall for the chanter’shead can be seen in the image to the far right. Beyond thepsychological eff ects of such an intense resonance, modern neuroscientists have discovered physiological changes within the brain at 110 hz which aff ect spatial and spiritual cogni-tion. This chamber quite possible acted as a literal gateway to altered states of perception for the ancient Maltese.

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Program: Sanctuary/NecropolisLocation: Paoloa, MaltaDate: 3000-2500 BC



Title: Baptistry of St. JohnDesigner: Diotisalvi/ Nicola PisanoP B ti tPrProogoggraram:m:m:: BBBBBapapapaptitit ststterere yyyLLoLoooccacaatiitit ooonon: PiPiiPisasasasa, ItalyyyyyyDaDaaD teteeett :: 11111 52525252-1-1-133636333

Pisa BaptistryThe Pisa Baptistry (Baptistry of St.John) houses one of the world’s

most magnifi cent acoustic phenomenon. Material composition and formal arrangement give this space an intense reverberation time

of 15+ seconds. This allows the singer to harmonize with their own vocal reverberations creating a dramatic sonic experience.


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Site Analysis



Rockefeller UniversityAs revealed in the thesis portion of this document, the site selected for the development of this design is lo-cated on the campus of Rockefeller University in New York City. This places it within the Lenox Hill neigh-borhood adjacent to the Upper East Side of Manhat-tan. The site is bound by E 63 St. to the southwest,

York Ave. to the northwest, E 68 St. to the northeast, and the East River/FDR Drive to the southeast.

Within the campus proper an opportunity ex-ists for placement of a structure in an area now occupied by a parking lot on grade (signifi ed in

red to the right). This grants frontage along York Ave. and presents the possibility of overall site im-provement for the campus by returning portions of the paved area to the landscaped nature of the

remainder of the campus.



This multi-layered site diagram shows the scontext with the park, the river, and the ur-tbabb n fabric, as well as subway lines, hospital adjacency, and site organization.adja


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The red box represents a site opportunity to bring symmetry to the York Ave. campus front-age. By matching mass-ing with the Caspery AuAudiditotoririumum, ththee prprojojecect tmay contribute to the overall site scheme.



Design ContextThe campus is famously landscaped by Daniel Kiley dating back to 1956. The adjacent buildings on the campus were all designed by the fi rm of Harrison & Abramovitz between 1957 and 1959. Cas-

pary Auditorium (seen in all 3 images) is a geodesic dome structure creating a performance space with seating for 430 people. The

building immediately behind the site (referenced from York Ave) is a graduate Students Residence Hall. It is proposed that this building be slightly remodelled to allow for some program to occupy a por-

tion of that building while forming a physical connection to the new construction (as seen with the Caspary Auditorium).


Sonic ContextThe site location presents a particular set of auditory contexts which the design shall have to contend with. Traffi c and street

noise along York Ave. and the adjacent roads has been visualized in the images on the opposite page. Below is a graphic analysis

of a typical 24 hour sonic timeperiod. Traffi c noise is represented in green, mechanical noise from nearby HVAC is represented in

purple, and individual occurances due to sirens, construction and the like are shown by the blue spikes. Each quadrant represents a 6

hour period beginning at midnight (top of the graph).


Program AnalysisProposed spatial requirements, square footage estimates, adjacen-

cy considerations, and environmental characteristics.



Program ID Room/Area

No. Name

SECTION I. PERFORMATIVE FACILITIESSECTION I.A. GROUP CHAMBER AND SUPPORT SPACESI.A.01 Building LobbyI.A.02 ReceptionistI.A.03 Anechoic VestibuleI.A.04 Group Session ChamberI.A.05 Public Conference Rooms - LargeI.A.06 SmallI.A.07 RestroomsI.A.08 CoatroomI.A.09 StorageI.A.10 Control RoomI.A.11 JanitorialI.A.12 Mechanical/Electrical

SECTION I.B. INDIVIDUAL CHAMBERS AND SUPPORT SPACESI.B.01 Inidividual ChambersI.B.02 Anechoic Vestibule (shared)I.B.03 Control Room (each)

SECTION II. ACADEMIC FACILITIESSECTION II.A. RESEARCH LABORATORIESII.A.01 Research LaboratoriesII.A.02 Laboratory Offices

SECTION II.B. EDUCATIONAL FACILITIESII.B.01 ClassroomII.B.02 Academic Conference RoomII.B.03 Administrative Suite Director's OfficeII.B.04 Administrative Work RoomII.B.05 Kitchenette / Break RoomII.B.06 Staff AssistantII.B.07 CommonsII.B.08 RestroomsII.B.09 StorageII.B.10 JanitorialII.B.11 Mechanical/Electrical

SECTION III. SITESECTION III.A.-B. PARKING GARAGEIII.A.01 Underground Parking (per space)III.A.02 Site Amenities

Building TotalsSite Totals

Total

Totals Building Summary Information -


No. AcousticPhase-I Phase-II

Units Per Unit TotalIsolation Partition Thickness Factor

BASE BLDG. Administration-Faculty Studios

Building (50,000 GSF -13,000 GSF SHELL)

ADD. ALTERATE-1 Music Lecture

Halls SHELL (6,300 GSF)

Type Construction $/Adj. NSF Room/Area Cost

1 1000 1000 1.00 1,000 - New $315 $315,0001 150 150 1.00 150 - New $210 $31,5001 500 500 1.00 500 - New $400 $200,0001 5000 5000 1.00 5,000 - New $400 $2,000,0001 420 420 1.10 462 - New $305 $140,9101 308 308 1.10 339 - New $305 $103,3342 300 600 1.00 600 - New $300 $180,0001 60 60 1.00 60 - New $135 $8,1001 250 250 1.00 250 - New $135 $33,7501 300 300 1.00 300 - New $350 $105,0001 120 120 1.00 120 - New $210 $25,2001 500 500 1.00 500 - New $275 $137,500

4 1000 4000 1.00 4,000 - New $400 $1,600,0001 150 150 1.00 150 - New $400 $60,0004 64 256 1.00 256 - New $350 $89,600

4 1000 4000 1.17 4,680 - New $350 $1,638,0008 500 4000 1.17 4,680 - New $250 $1,170,000

4 600 2400 1.17 2,808 - New $250 $702,0001 800 800 1.17 936 - New $305 $285,4801 500 500 1.10 550 - New $305 $167,7501 100 100 1.00 100 - New $135 $13,5001 200 200 1.10 220 - New $300 $66,0001 64 64 1.00 64 - New $185 $11,8401 300 300 1.00 300 - New $250 $75,0002 120 240 1.00 240 - New $300 $72,0001 300 300 1.00 300 - New $135 $40,5001 120 120 1.00 120 - New $210 $25,2001 500 500 1.00 500 - New $275 $137,500

50 350 17500 1.00 - 17,500 New Shell $120 $2,100,0001 ? #VALUE! 1.00 - #VALUE! New Shell ? #VALUE!

Total # Rooms Adj.NSF $/SF (avg)GSF-Renovation + New

Construction

49 27,138 $323.27 $9,434,664.0017,500 $120.00 $2,100,000.00

$247.08 $11,534,664.00

GSF-New Construction

17,500

46,685

Net SF (NSF)( )

Cost Opinion

Room/Area FinancialsAdjusted Net SF (NSF)

F-New Construction

29,185


Program ConsiderationsAs seen on the opposite page, particular program elements within

the building shall require specifi c acoustic considerations. Addi-tionally, analysis was conducted regarding ideal adjacency amongst

the various elements of the program.

73 Resonant Form : The Convergence of Sound and Spacedesign application

Design ApplicationDesign began in the spring semester of 2013. Contained are ele-ments of the process as well as fi nal products in the form of draw-

ings, renderings, and physical models.


74design application

The design focused predominantly on the iterative development of formal possibilites for the sonic chamber. The process sought to use sound as a generative element within the deign pro-cess. Drawing inspiration from the branch of physics known as cymatics, the mathematical rules which govern wave interactions were used to begin the creation of an algorithm to produce 2D

patterns specifi c to particular frequencies.

An algorithm developed by Kevin Dill and Sergei Mikhailov provided a more elegant (and pro-lifi c) array of cymatic patterns for the sought frequencies of sound. Using this process, over a

hundred iterations of tonal patterns were developed, each acting like a fi ngerprint of a sound.


Building on the symetrical nature of the cymatic patterns, surface forms were created through a process of rotating about the natural axes. This produced a variety of formal explorations, each associated with a particular sonic frequency. These forms were then brought into a variety of acoustic analysis software to begin understanding the properties inherent in each iteration.



C Major Triad

A Minor Triad

B fl at Major Triad


In order to select a more focused realm of investigation from the 100+ iterations, a set of formal typologies was created based on similarities in spatial structure. 3 typologies were extracted,

each containing 3 tonal structures. Interestingly, the structural similarities also aligned with fre-quecies found within harmonic triads.



The chamber is envisioned as a Temple of Sound within a Monestary of Science, and as such the remainder of the program is arranged in a liner building which shields the chamber from the noise pollution of York Ave. The chamber sits within a glass domed structure, half submerged within a refl ecting pool. Public entry proceeds below the water level of the pool and around

the dome to arive within an anechoic chamber. Here normal brain function is interrupted by a disruptive force, priming the brain for the patterning forces within the sonic chamber.


Each triad typology is designed as a moving, robotic structure. Within the structure there are stationary members within the spaces where each form overlaps. This confi guration allows the

space to shift between the 3 formal variations within each triad typology.



sonant Form 80


81

The transforming structure is populated with robotic armatures which allow for fi ne tuned place-ment of the panelized skin. The interior surface of the chamber is composed of carbon fi ber

panels, selected for its particular material qualities of reverberation and resonance. The panels slide past one onther to tune the space between confi gurations.

final book 5-9-13

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