It is time to revisit walls, by really looking at them in section, and understanding how easily walls can turn into the ceilings, floors and transient windows. For this reason, I love the following image which shows you very clearly one way in which an architectural product called Metamorphosis Shimmer (by Philips Design) can make a simple, elegant and multifaceted design for kinetic architecture.

Image: centralasian | Flickr

Here is what Philips Design says when describing their Metamorphosis Shimmer product:

“Shimmer is an architectural product concept designed to facilitate well-being through surprise, movement, natural noise management, air movement and natural light dispersion.
The „stripes‟ are based on flexible elements that emit natural light and channel air. They can transform to change the interior characteristics of a space in response to people and the atmospheric/lighting conditions outside.
The elements of the system are a composite laminate consisting of a light diffusing material; air/vapor capillary system, flexible audio membrane and structural and decorative elements. Space is transformed as the „stripe‟ elements are flexed, changing the volume, affecting the airflow and the sound characteristics. The tension is altered by a system of cables connected to small motors with a gearbox, allowing natural light conditions to be transported from the outside into the interior space.”

The Convergence of Many Transient Designs Working Together

I would like to show you the following video as a source of great inspiration to get you thinking about what can be achieved by injecting kinetics into the equation by which you design. As you will see, a unification of the senses to improve lifestyle for people can help them not only live healthier but in greater harmony with each other and our planet.

In the video below, the visualizations for future designs include many interesting and different ideas, going beyond the Shimmer project I talked about earlier. As you watch it, try to imagine a world where many of these transient designs adapt to your occupants and other surrounding conditions and situations — where not only one kinetic installation makes all the difference, but the harmony and balance between multiple and layered kinetics working together is what really has the potential to bring the human standard of living to a much better level (while also being in greater harmony with the planet).

Here is the video entitled — Philips Design’s latest Design Probe “Metamorphosis”:

Please Tell Me What You Think

I would really like to get your feedback on my post today, so please leave me a comment in the form below. And if you enjoyed it, make sure you share it with your Twitter followers by “tweeting” it using the re-tweet button on this page.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

Image: seier+seier | Flickr

When taking a closer look at the relationship between music and the theater in which it is played, the composer becomes a pivotal link between the two that provides some intriguing insight into ways that architecture shapes its occupants.

As architects, we like to think that we shape architecture — but as most of us know it also shapes us. The relationship between adaptation and environment often works both ways, and for this reason, I encourage you to watch the following video where David Byrne will take you through the evolution of music, and the strong role theaters and other “venues” play, as the space “surrounding” a performance actually becomes its extension.

In particular, look for his juxtaposition between the way music has developed to fit particular venues of its time, and how birds from different regions and geographic environments actually evolve to develop different bird calls. As you will soon learn by watching the video below, David Byrne paints a picture of not only why architecture is significant in uplifting the lives of its occupants through sound, but also will get you thinking about ways you can enhance your architecture by knowing full well that you are creating a context that your occupants will need to inadvertently fit into, as much as it will need to fit them.

Here is the video entitled How Architecture Helped Music Evolve:

What Does This Mean for Your Designs?

After watching the above video, you are probably left with a better understanding as to why the design of architecture is so critical to not only help people be more functional, but to also help entire cultures to evolve. It is as if architecture is both a thumbprint of a person or a culture, while also serving as a vessel within which a person or a culture can develop and thrive. And a key component that makes all of this happen are the senses with sensorial stimuli, like sound through music.

Thus, by understanding more about sensory design, your architecture will stand a better chance of growing, learning and evolving with its occupants, by not only fitting them now, but also helping them to realize their future through context. As your occupants use your building either for an hour, for decades or over many generations, it must meet their needs on many levels — intellectually, emotionally, physiologically, behaviorally and spiritually. And still, the senses play a large role on all of these.

In order to do all of this well as an architect, it will often help to delve into how the human senses absorb, process and actuate stimuli. By getting a richer understanding of this, you will equip yourself to create designs that grow and evolve — to actually become an extended “instrument” with which not only musicians and composers create and perform music, but also with which occupants can realize a better extension of themselves as they experience each moment of every day.

Please Tell Me What You Think

I would really like to get your feedback on my post today, so please leave me a comment in the form below. And if you enjoyed it, make sure you share it with your Twitter followers by “tweeting” it using the re-tweet button on this page.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

Image: Norebbo | Dreamstime

We all know that computer technology has done a lot to advance not only the way the design process can work, but also to improve the constructed outcome of that design process.

That’s why I think it’s important to shed some light on what “aural renderings” can do. (1) You, as an architect, can actually listen to a designed space as built to the parameters of your three dimensional CAD model. Here is a detailed description of the process that goes into creating such an aural rendering:

A 3-D model of the space is built using CAD software, and this model is transferred to an acoustical modeling software package. The acoustical consultant assigns acoustical properties to the modeled room’s surfaces (or potential construction materials) and places sound sources and listener locations. The software then calculates the propagation of sound from the source to the listener using algorithms based on ray-tracing combined with statistical reverberation calculation and other techniques to account for sound scattering and diffraction. The calculated room impulse responses are then convolved with audio material that has been recorded anechoically – in a space free from echoes or reflections – to generate a realistic and listenable result (a piano recital, a busy wedding banquet, or a ceremonial speech as it will sound in the yet-to-be-built space). (1)

EXPERIENCING YOUR BUILDING BEFORE YOUR OCCUPANTS DO

Yes, you can visualize your building’s design and perhaps its final outcome, but so many variables are at play once the building is constructed. Can you be certain that your designed spaces will not only function, but also feel the way you intend?

Simulation technologies can be an extremely helpful tool to you during your design phases. And they can be quite valuable as you must make many decisions during those phases to produce a quality architectural design that realizes your vision.

For instance, the aural qualities to a space may not be so evident in a fly-thru animation; however, an aural rendering may make that space come alive in a way the fly-thru does not. As you know, different modeling techniques can inform you of different things.

As technology develops with new ways to “visualize” your complex architectural designs, wouldn’t it be nice to have a way to fuse them together? Why not visually render a space capturing its light levels at a specific time of day while also aurally rendering how it will sound during a specific function?

Really, the possibilities (and opportunities) become endless. The key is to pull the best of what technology has to offer so you are informed with vital information that helps you make great design decisions.

Don’t use computer technology as a crutch, but strive to push the boundary with them.

(1) Sacks, Jonah & Pieleanu, Ioana. Technology Transforms Architectural Drawings into Aural Renderings. Architechweb.com. September 2009.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

Image: Ethan Hein | Flickr

It’s hard to find a quiet place on earth anymore. Human-caused noise seems to be everywhere, and that’s because it is. (1) Our living environments are “soundscapes”, and “noise” quickly becomes a relative term.

Yes, your architecture greatly contributes to the “soundscape” that people experience. Sound within your building is greatly linked with functions going on within it, but what about the design of sounds that you purposefully inject and mold into your project?

WATCH OUT… SOUND CAN BECOME NOISE

For architects, it is common to be concerned with the elimination of sound, otherwise referred to as noise. Some hospitals are filled with noise that keep patients from sleeping “soundly” (pun intended) and some schools are bombarded by urban noise that interferes with learning.

For some, these are just manifestations of modern living — where there is a fine line between sound and noise depending on who and when is listening. For architects, closer attention should be given to this phenomenon.

TAKE CONTROL…DESIGN A SOUND SPECTRUM

As you design architectural complexes ranging from an urban master plan to an individual building project, you need to keep both sound and noise in mind. You should be asking yourself not only what noise you want to keep out, but also what sounds you want to encourage.

Most all places on earth today have their own “soundscape”, but few are deliberate and designed. Think of your architectural projects as having their own sound spectrum where the sounds you hear were consciously thought out and intentional.

Architecture is more than just a visual experience. Pay close attention to how the sounds your occupant will experience contribute to or take away from your designed spaces. Their thoughts, behavior and emotions are all affected by sound. In fact, they use sound as stimuli that contributes to the processing of their other senses.

Give your occupants an aural journey through your space.

(1) Barone, Jennifer. What Do Urban Sounds Do to Your Brain? Discover Magazine. July 24, 2009.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

VIDEO REVIEW

Brian Blosser explores issues of spatialization where users can move sounds around them throughout an entire space. You can see in Blosser’s demonstration that 9 sound objects (represented by 9 circles) each represent a specific bell tone. As a user moves an active circle/bell tone object, the bell actually sounds like it is moving around in space. The medley of all 9 bell objects moving in space results in an actual feeling of being in a bell tower.

Blosser’s project is nice to see because so often interactive displays are limited to a free-standing object within a space or adjacent to it. This Bell Tower project uses sound to make use of an entire space, giving it acoustic form and dimension through interactive sound – all while also giving the user control so they can play or manipulate the qualities of their space through sound.

WHAT DO YOU THINK?

Have you come across any interactive designs that make use of an entire space? What made them work? Where did they fall short? What are your ideas for an interactive design that would give users control of an entire space?

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

Image: Ale_lobo | Dreamstime

Architectural design requires that acoustics be well thought out and coordinated. The sound spectrum must remain clear without portions distorted or missing. The paper, Acoustics and Sound Systems in Architectural Design, emphasizes how acousticians should be part of the design team early on. The author describes how it is important to avoid overlapping sound waves that project into a common space – this interference is what can distort the sound spectrum.(1)

The following are 7 additional design tips to achieve the best architectural acoustics within a space. These principles highlight some of the most informative ideas found within Acoustics and Sound Systems in Architectural Design for best aural experience.

1) Watch out for SOUND REFLECTIONS. Straight surfaces reflect sounds back into the central space making sound clarity muddy.

2) Select ACOUSTICAL TREATMENT carefully. Different materials absorb sound frequencies differently. Make sure your acoustical treatments are absorbing the right sound frequencies.

3) Diminish ECHOES when necessary. Be aware that sounds traveling within 30 milliseconds of each other are perceived without echo. Sounds traveling after the 30 millisecond threshold become echoes of the original sound.

4) Don’t let other building systems get in the way. NOISE CONTROL is important to keep in check as other building systems (like HVAC systems) operate. Keep such clashing noises to a minimum.

5) Keep objects or other OBSTRUCTIONS out of the way. Objects that obstruct a sound path can block high frequency sounds. (Low frequency sounds can bend around objects.)

6) Get good PATTERN CONTROL. Make sure sound systems for a room get good sound coverage. This will prevent feed-back and other sound distortions.

7) For out-of-the-way listening areas get DISTRIBUTED SOUND SYSTEMS. Such “delay-fill” speakers operate with an electronic delay so the sound matches and is synchronized.

In the end, it is important to make sure that the architectural acoustics match the architectural function and aesthetic value of a particular project. I remember visiting a hospital where the TV sound was obstructed by an HVAC vent. That simple sound collision can make for quite an uncomfortable hospital stay. Similarly, you should make certain that sound travels only when you want it to. Office conversations that needlessly travel to employee office spaces can be quite a distraction.

Involve your acoustician early and coordinate design efforts to avoid uncomfortable and sometimes painful aural sensations. Architectural acoustics are important beyond auditoriums, theaters and religious spaces.

(1) Kamlet, Rick. Acoustics and Sound Systems in Architectural Design. Archi-Tech. April 2005.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman

Image: Ptoone | Dreamstime

Have you ever toyed with the notion of designing a space strictly based on sound quality? Perhaps acoustics have played a major role in certain projects where sound formulas served to construct space. But — what about “aural architecture”? It becomes interesting to understand what happens to architecture beyond physics. When experienced via our auditory senses, architecture gains another dimension that significantly influences occupants. In the book Spaces Speak, Are You Listening, the authors describe how aural spaces evoke feelings and emotions as occupants listen.

Interestingly, the authors describe how sound serves to connect or even isolate humans dependant upon there proximity to noise levels, a specific sound source or other people. Humans use their sense of hearing to understand space. Sound works together with the other senses to help people navigate and construct understanding of forms, objects and distances.(1) Thus, the auditory quality of an architectural space is quite important.

There is no doubt that when architecture tailors itself to the human senses its effects have great impact. The interplay between aural and visual architecture, for instance, can create powerful spatial experiences. In an interview with the authors of Spaces Speak, it was said that “extensive observations of ancient sites support the notion that wall art and acoustics were deliberately related rather than accidents.” Thus, the caves of Lascaux are prime examples of how bison images reflect the strong echoes found in the chambers. It is thought that the echoes were reminiscent of the “hoof beats” made by bison when passing.(1)

Yes, aural characteristics found within architecture often stir emotions. Accordingly, we use our sense of hearing to bond with other people as well as to enjoy space. Just imagine religious buildings, office buildings, music halls, restaurants or even residential spaces. For occupants to share a space they, frequently, must share their experiences – and sound is often a primary feature which unites them. Simply stated, if an event is out of earshot, then an occupant may not even be aware that they need to pay attention.

As architecture evolves, auditory designs will likely become more elaborate. Beyond music halls and religious institutions, sound design should do more than help occupants reconstruct space; sound design should help occupants truly interact with their surroundings. Designing with sound can bring about just as many spatial arrangements as designing with visual ques. The trick is to know how to synthesize such stimuli into a composition for multiple senses. Occupants will then have the richest of architectural experiences.

(1) Blesser, Barry & Salter, Linda-Ruth. Spaces Speak, Are you Listening? Experiencing Aural Architecture. MIT Press. 2006.

© 2008-2011 Sensing Architecture by Maria Lorena Lehman