The Biometric Evolution of Sound and Space

Auditoria in the late 20th and 21st centuries have evolved into a series of spatial conventions that are an established and accepted norm. The relationship between space and music now exists in a decoupled condition, and music is no longer reliant on volumetric and material conditions to define its form (Glantz 2000). This thesis looks at a series of novel approaches to investigate how the links between music and space can be reconnected though evolutionary computation, parametric modelling, virtual acoustics and biometric sensing. The thesis describes in detail the experiments undertaken in developing methodologies in linking music, space and the body. The thesis will show how it is possible to develop new form finding and musical generation tools that allow new room shapes and acoustic measures to inform how new acoustic and musical forms can be developed unconsciously and objectively by a listener, in response to sound and site

Airtime: Integrating Acoustics into the Design Process

Background As part of the sensory experience, acoustics serves an important role in facilitating the social functions of a space. The acoustic response of a space plays a part in determining its social atmosphere, as well as how it functions for certain occupancies (eg. clarity in a classroom, projection on a stage, fullness in an orchestra). The acoustics of a space is determined by the assembly and materials of its envelope, as well as the occupation within. Commonly, specific acoustic solutions like panels, foam, or sound batt insulation are used to manage or treat the acoustic qualities of a space. Research Focus How can we define a design process for the acoustic response of a space? How can we define an architectural design language to treat the acoustic response of a space? How can this design process/language make architectural acoustics a more accessible topic for architects who do not specialize in acoustics? Research Methodology Case studies of existing architectural spaces with acoustic solutions or non-solutions, experimental research creating physical spaces with acoustic responses. Design Outcomes A recording studio featuring sound labs with flexible acoustic wall assemblies and systems, and; a framework for evaluating the acoustic performance of a space given its dimensions, materials, and occupancy/furnishings, as well as specifying these characteristics to achieve a given acoustic response

Advances in Architectural Acoustics

Satisfactory acoustics is crucial for the ability of spaces such as auditoriums and lecture rooms to perform their primary function. The acoustics of dwellings and offices greatly affects the quality of our life, since we are all consciously or subconsciously aware of the sounds to which we are daily subjected. Architectural acoustics, which encompasses room and building acoustics, is the scientific field that deals with these topics and can be defined as the study of generation, propagation, and effects of sound in enclosures. Modeling techniques, as well as related acoustic theories for accurately calculating the sound field, have been the center of many major new developments. In addition, the image conveyed by a purely physical description of sound would be incomplete without regarding human perception; hence, the interrelation between objective stimuli and subjective sensations is a field of important investigations. A holistic approach in terms of research and practice is the optimum way for solving the perplexing problems which arise in the design or refurbishment of spaces, since current trends in contemporary architecture, such as transparency, openness, and preference for bare sound-reflecting surfaces are continuing pushing the very limits of functional acoustics. All the advances in architectural acoustics gathered in this Special Issue, we hope that inspire researchers and acousticians to explore new directions in this age of scientific convergence

Mapping form/ constructing context : an operatic proposal for Boston

Thesis (M.Arch. and S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 72-74).This thesis explores the relationship between form, context, and program through the optic of sound. The project consists of an open assembly of receptive surfaces (a multiple membrane system) that register and retrace different music tempos and acoustical events from the interior and the city's vibrations, rhythms, noises and breath, from the exterior. The oscillating effect between these parameters begins to define a thickened zone of space that mediates program and context through its deployment of surface, facade, flow and structure. It is this deployment that becomes critical- it becomes a way of constructing one's own context- a coordinate system that belongs only to the project at hand. This coordinate system is a resultant of the mapping of forces- a diagramming of flows and influences that are present in the site, the program, the project and its methodology. A formal strategy evolves that is discovered rather than implemented, and as a result, the internal logic of the project becomes the generative mechanism (evolutionary) that sets in motion its transformations, deflections and formulation. Ultimately the thesis proposes a way of dealing with the gap that exists between intuition and science, and decides where it positions itself along this bar. The computational model is developed initially from intuitive readings and mappings of the site- this intuition is then transferred into a context, or framework that can be tested. This testing becomes a critical part of constructing context- it is through testing that the intuitive meets the rational and calibrates the internal logic of the project.by Rolando Mendoza.M.Arch.and S.M

Faculty Publications and Creative Works 1997

One of the ways we recognize our faculty at the University of New Mexico is through this annual publication which highlights our faculty\u27s scholarly and creative activities and achievements and serves as a compendium of UNM faculty efforts during the 1997 calendar year. Faculty Publications and Creative Works strives to illustrate the depth and breadth of research activities performed throughout our University\u27s laboratories, studios and classrooms. We believe that the communication of individual research is a significant method of sharing concepts and thoughts and ultimately inspiring the birth of new of ideas. In support of this, UNM faculty during 1997 produced over 2,770 works, including 2,398 scholarly papers and articles, 72 books, 63 book chapters, 82 reviews, 151 creative works and 4 patents. We are proud of the accomplishments of our faculty which are in part reflected in this book, which illustrates the diversity of intellectual pursuits in support of research and education at the University of New Mexico. Nasir Ahmed Interim Associate Provost for Research and Dean of Graduate Studie