ARC3020Y F
Instructor(s): Brady Peters
Meeting Section: L9102
Synchronous
Tuesday, 9:00am - 1:00pm, 2:00pm - 6:00pm

The research agenda of the studio will be based on the theme of “Tuning Spaces.” Sound is a central part of human experience. Good acoustic qualities create emotional affect, influence community and belonging, improve health, increase work enjoyment and efficiency, reduce stress, and increase our learning potential. As people spend over 90% of their time indoors, improvements to the acoustic quality of indoor environments has the potential to have great benefit. Human activities produce sound, and architecture constantly interacts with us through its filtering of sound. However, despite its importance, sound is rarely considered in the architectural design process. This studio’s ambitious research program addresses a fundamental gap in the current ways architects design for sound.

The research produced in this studio seeks to radically and creatively integrate sound into the architectural design process. The experiments will utilize computational design algorithms and parametric modelling techniques, combining these with established and custom acoustic simulation software to create acoustically performance-driven spaces and surfaces. Although linking design and evaluation is essential, it is also insufficient. Architecture is a design process that extends from ideation through to realisation, and the incorporation of acoustic performance must be considered in design, simulation, and integrated into the construction logic of fabrication and assembly. While the work of the studio will engage with a quantitative performance-driven design paradigm, projects must also recognize the emergent complexity of the architecture project and its social and cultural situation.

Some suggested research topics are: shape optimisation for improved room acoustics, acoustic metamaterials, wave-based acoustic simulation, components of acoustic architecture, sound design strategies for architecture, the acoustics of office and meeting spaces, designing and fabricating meeting pods, mass timber and acoustic performance, and customized acoustic surfaces. I welcome further discussion about individual research interests in the area of sound and architecture.

Notes:

• The major deliverable will be a work of architectural research. It is expected that all students will undertake precedent and literature studies, plan and carry out architectural experiments using accepted methods, and communicate findings through drawings, models, prototypes, and a written thesis. I will encourage all students to develop their projects into conference or journal papers. From the studio last year, we had five publications in leading computation and simulation conferences, with two more publications still under review.
• There is no international travel planned for the studio this year. However, pandemic permitting, we may visit local specialized design, manufacturing, and construction firms using innovative technology and digital fabrication.
• Students should have decent skills in digital 3D modelling with a firm understanding of Rhino and Grasshopper. Pandemic permitting, students will engage with digital fabrication techniques such as 3D printing, laser cutting, and robotic fabrication.
• Students will be expected to learn new methods; however, the exact nature of these methods will be determined by the student’s research question. For example, some research will require learning new simulation software, or measurement technique, or fabrication software, or music or sound design software.