Project Distortion II
2011
Stockholm, Sweden and Copenhagen, Denmark
Image Source: Brady Peters / Anders Ingvartsen
The Distortion II project is an experimental research project, designed, built, and tested to create visual and acoustic affects within an open-plan space. This project was a collaboration between Brady Peters, Martin Tamke, and Stig Nielsen at CITA, Niels Jacubiak Andersen (Krydsrum), and Magnus and Patric Gustafson (Akustikmiljo). It extends the work carried out in the Distortion I project a year earlier. The project demonstrates, through the specification of geometry and material, how a surface can respond to acoustic performance criteria. The findings from this project inform the future designs of acoustically regulating structures for open-plan spaces. This research suggests a general method for designing, simulating, and fabricating sound- and space- defining structures. The Distortion II project was designed for two exhibitions: the 2011 Stockholm Furniture Fair, and the 1:1 Research exhibition at the Royal Danish Academy of Fine Arts, School of Architecture. The project combines a research-through-design methodology with the quantitative measurement and simulation methods of acoustic engineering. The goal of the research is the study of the process of design, with the aim of the improvement of this process. The design intent of the project was the creation of an acoustic surface designed in response to sonic performance criteria. This project aims to make the interior soundscape of our buildings an exciting and desirable experience.
Image Source: Brady Peters
This project questions the design strategy of acoustically homogeneous spaces defined by the specification of reverberation time in building codes. Instead it suggests and explores the potentials of acoustically heterogeneous spaces. Acoustic performance is usually specified using a single criterion, reverberation time; however, hearing is a multi-dimensional experience and there are many different ways to evaluate sound quality. Reverberation time is often constant through a space; despite this, we can often perceive different acoustic qualities throughout a space, and these differences have been shown to modify our opinions of the space. This research project recognizes this fact and suggests that, if the factors that create differentiated acoustic spaces can be understood and controlled, and then these can be used as a design tool. This research introduces the concept of the acoustic subspace, which we defined here as a zone within a larger space that can be differentiated through its acoustic qualities. This project was designed specifically to probe two acoustic extremes: a sound-amplified zone, and a sound-dampened zone.
Image Source: Brady Peters / Anders Ingvartsen
To have a functional iterative design-analysis cycle using acoustic performance, the geometry produced in the architectural CAD system needs to be easily imported into the analysis software and the results from the analysis software need to be understood so that they are able to then drive the geometry in the architectural CAD system. Two approaches to acoustic simulation and analysis were used in this project. The first approach used the ODEON acoustic analysis software and used imported geometry. Acoustic analysis shows how reverberation time is relatively constant throughout the space, while sound pressure level varies greatly. The data from the CAD software could be easily transferred from the parametric model to the analysis software, but in order to do this the geometry had to be level separated by material, and be constructed of simple triangular shapes.
Image Source: Brady Peters / Anders Ingvartsen
The second approach for an iterative design-analysis cycle is to integrate the evaluative tool into the design environment. In this project I developed a custom ray-tracing program to analyse the sound level around the structure. This analysis was programmed in the CAD design environment and offered instantaneous feedback about the design option. However, for this project, this data was not translated then to an established acoustic parameter, and since the data transfer to ODEON was so simple, this method was only used during the sketch design phase.
Four different digital production techniques used: laser cutting, knife cutting, CNC routing, and metal bending. The fabrication files for all of these techniques were generated out of a customized parametric system. The input for this was the structural panel model. The planar plates are translated from their three-dimensional (3d) position to the two-dimensional (2d) space of the CNC machines and details such as screw holes or assembly related engravings were added, and a similar approach was used for the generation of the gradient pattern for the sound absorbing Fibrefloat.
Four different digital production techniques used: laser cutting, knife cutting, CNC routing, and metal bending. The fabrication files for all of these techniques were generated out of a customized parametric system. The input for this was the structural panel model. The planar plates are translated from their three-dimensional (3d) position to the two-dimensional (2d) space of the CNC machines and details such as screw holes or assembly related engravings were added, and a similar approach was used for the generation of the gradient pattern for the sound absorbing Fibrefloat.
Image Source: Brady Peters / Anders Ingvartsen
The consideration of acoustic performance is important in the design of open-plan working and learning spaces. The Distortion II project demonstrated that sound can be an area of creative design potential. Designing for sound is a challenging as it is a time-based phenomenon that changes with the position and qualities of sound sources and sound receivers and the social/cultural situation in which it is experienced. Through responsive geometry and material, architectural surfaces can create acoustic conditions. In order to design for sound performance an evaluation system must be part of the design process and measurable acoustic performance criteria must be set to correspond to the design intent. Designers must be able to contemplate design options through these evaluative feedback mechanisms. Feedback on acoustic performance can come from through acoustic simulation studies. This project has demonstrated the phenomenon of the acoustic subspace. Acoustic surfaces can create differentiated acoustic conditions within open-plan spaces; however, the reverberation time (T30) does not capture this impression. The parameters of EDT, G, and STV IA-diff, were found to be more useful to define and measure the acoustic subspace.
Parametric modeling techniques were central to the design process as they allowed the creation a model that could be modified to achieve the performance criteria. Material properties were mapped in relation to acoustic performance and geometry was adjusted meet performance requirements. It was found that file exchange with the acoustic analysis software was easiest using DXF file with simple triangulated shape geometry. The parametric model was linked to fabrication machinery. However, the linking of form, performance, and fabrication requires letting go of some design ideas, because of competing demands from these the three systems, a balance must be achieved.
This project demonstrated the trihedral folded plate system as a structurally strong system with design flexibility. To integrate the behaviour of sound, the geometric logic of the folded plate, structural considerations, and the assembly logic into the performance equation establishes a feedback loop that creates a new understanding of architectural assemblies. The project was realized and performed as predicted because of the high degree of precision that was achieved through digital fabrication.
Parametric modeling techniques were central to the design process as they allowed the creation a model that could be modified to achieve the performance criteria. Material properties were mapped in relation to acoustic performance and geometry was adjusted meet performance requirements. It was found that file exchange with the acoustic analysis software was easiest using DXF file with simple triangulated shape geometry. The parametric model was linked to fabrication machinery. However, the linking of form, performance, and fabrication requires letting go of some design ideas, because of competing demands from these the three systems, a balance must be achieved.
This project demonstrated the trihedral folded plate system as a structurally strong system with design flexibility. To integrate the behaviour of sound, the geometric logic of the folded plate, structural considerations, and the assembly logic into the performance equation establishes a feedback loop that creates a new understanding of architectural assemblies. The project was realized and performed as predicted because of the high degree of precision that was achieved through digital fabrication.