Monthly Archives: March 2010

quadratic-residue diffuser






-excerpts from Schroeder’s quadratic-residue diffuser. I sent Moji our latest presentation the other day along with photographs from milling and foam tests. He seemed to think that due to the size/scale of our sites that we make actually want to diffuse the sound rather than reflect and he provided these documents for us to review, this would be amplifying the sound. He also seemed to think that instead of directing or amplifying our sound our problem would lie in containing the sound due to excess noise in the streets. However I think this is what we want but only perhaps in specific instances? So to diffuse noise, panel size needs to be equal to the wave length of sound. However we need to know the music that will be playing in order to know which frequencies we want to diffuse. Then we will know the panel size–he suggested using a random number generator (as seen on Page 4) to randomly generate the sizes of well widths and depths(1/4 wave length)[[reflection: 4x wave length]]. We may need to specify a certain style of performance and check the frequencies of the sound being generated in order to set up our range of panels. This might necessarily include stereotyping the neighborhood in order to arrive at a musical style which varies from location to location, and for the speciation of the project. I think though that by doing this it could help us, adding a little more context to design within–a rave performance will function and sound differently than an acoustic blues performance, etc. But we really do need a large variation in scale of diffusers in order to diffuse all wave lengths.

Main points:
reflection surfaces: 4x wave length
diffusion surfaces w: equal to wave length
diffusion surfaces d: 1/4 wave length

*i think this is as much as we need to know and if we can tie this to certain styles of performances and then randomly generate the surfaces to this criteria we will have generate diffusive and reflective surfaces oriented at our audiences. concert halls typically have overhead reflective surfaces which they are able to reconfigure based on performance being played, i.e. changing the distance to allowing different frequencies to be reflected. These are the three variables we should be concerned with, as mentioned by Moji: distance, intensity, and frequency. Below are some other files that may be useful:





foam + milled barnacle






mesh vs. surface



midtown_sites.00

Nodes of the network:
Spiral Collective + Avalon
The Bronx Cafe/Bar
Peoples Records

relax test 01







Current “barnacle” or truncated pyramid geometry with relaxation modifiers from 3ds max. although they give us a more “organic” or smooth geometry which is both conducive to convex reflection surfaces and natural robotic/foam movement/growth, I would go against sitting on many of these geometries which arise. At times of extreme relaxation on modules with a thinner profile/section, pointy stalactite-like geometries are created which are neither good for reflection or seating and serve no purpose for our project. In my opinion these geometrical growths of truncated pyramids need to be achieve an overlapping aggregation, which then trims and deletes “hidden” surfaces so that the intersections of surfaces may be welded in max. An alternative to overlapping aggregation would be to create a secondary aggregation/growth which works an offset height to the seating surface acting as “floor” or places for the feet and standing which will do away with the crevices that are now created by growing geometries off of edges. However as can be seen in the bottom image the contours from the geometry work better with the continuous robotic paths.

mid-review | current issue

Post is subject to frequent updates and changes: post will be updated continuously with current layout pages as they become available until the mid-review at which time post will move to the ‘current issue’ page for further review. Only up-to-date boards will be shown below. Below is the index and order of presentation layout; layouts will be listed up-to-date if they are current and will move to bottom of priority list.
Index:
-Cover (up-to-date)
-Narrative
-Sketch (up-to-date)
-Mapping: area of interest-macro
-Mapping: typologies: area of interest: network
-Mapping: bus routes/area of interest circulation
-Mapping: business/sites within area of interest “acupuncture points” + info
-Mapping: soundscape map (?)
-Business Diagram
-Siting Process/Strategy: Acoustics (up-to-date)
-Siting Strategy: arbitrary (up-to-date)
-Program Typology (up-to-date)
-Acoustic Reflection I (up-to-date)
-Acoustic Reflection II (up-to-date)
-Acoustic Foam Treatments (up-to-date)
-Geometric Explorations: swale geom. (up-to-date)
-Geometric Explorations: truncated geom.
-Fabrication: foam wall 5 (up-to-date)
-Fabrication: photos (up-to-date)
-Fabrication: acoustic milling patterns (up-to-date)
-Scripting: pseudo diagram
-Formal Studies: speciation matrix (up-to-date)
-Formal Studies: speciation matrix–enhanced view:catalog
-Representations: renderings/scenes



01-Cover


02-Narrative


03-Sketch 01

04-Sketch 02


05-Mapping: Site Selection


06-Mapping: Bus Routes


07-Mapping: Midtown+Cass Corridor


08-Mapping: Midtown+Cass Corridor


09-Business Strategy


10Process Diagram


11-Siting Strategy – generic


12-Program Typology


13-Acoustic Reflection I


13-Acoustic Reflection II

.
14-Acoustic Foam Treatments


15-Geometric Explorations: Swales I


16-Geometric Exlorations: Swales II


17-Geometric Explorations: Truncated Pyramid


18-Fabrication: Schedule


19-Fabrication: Foam + Milling Photographs


20-Fabrication: Foam + Milling Photographs


21-Fabrication: Acoustic Milling Patterns: Blue Foam

22-20-Scripting: Pseudo Diagram + Process


23-Formal Studies: Speciation Matrix


24-Representation: Small Scale Event w/Enhanced Matrix
25-Representation: Medium Scale Event w/Enhanced Matrix
26-Representation: Large Scale Event w/Enhanced Matrix

images | 03.14.2010


updated cover and title? also showing the current modelling matrix. the matrix shows a speciation of eleven different geometries, ranging from a cube to sphere, which are then broken down by typology(below, above, vertical, horizontal)(seating, ceiling/canopy, wall/surface, ground/topography). the typologies are then broken down for each geometry, show single, aggregation, field, topography, and surface for each typology of each geometry. the resulting grid will have a total of 200 speciations based on the conditions we are interested in exploring.