Mark Terra-Salomão | Assignment 6B: Best Final Assignment Ever!

Not to turn the best final assignment ever into a dissertation on moral philosophy, but it's my belief that now that the final project is done it would be mildly disingenuous and not particularly expedient or useful on my part to actually design an acoustic ceiling and talk about it as if I had done it before the fact. (Not trying to call anyone out here or anything; I just don't feel comfortable personally with talking about work I've done after the fact as if I had not.) So, in my usual iconoclastic ways, I have decided to revive an old favorite and have essentially placed a scaled-up version of Alvar Aalto's Viipuri Library lecture room acoustic ceiling into my large 120-seat theater. I've always wondered how accurate Aalto's hand studies of the acoustics were, and / or whether a computational tool could recreate these studies in a fraction of the time it took Aalto.

I used Sonic's complex surface casting function. I placed the point where the theater's speaker room would be, simply because that's where most of the sound in the theater would come from (and also because Aalto's ceiling was designed to accommodate one source point at the front of the space). Ignoring the fact that Sonic likes to raycast through the surface, it seems that the acoustics of Viipuri would actually work quite well for this theater. And why reinvent the wheel, amirite? (WRONG!)

Anyway, if I were to 3D print this "tile" it would just have to be immensely scaled down, as it is not so much a tile as an entire ceiling datum. Indeed, this is what I have done with the STL file.

The scaled-down tile compared to the overall ceiling assembly

Assuming that I would actually place this object into my theater - which I already established I wouldn't, but let's try and suspend our disbelief - materially it would be more or less the same as the Viipuri Library's ceiling; that is, shaped sitecast concrete clad with high-quality wood. This is only partially a shameless cop-out, as there is a good reason to use wood - many kinds of wood have good acoustic properties. I'll never forget this because it was ingrained into my mind by my elementary-school music appreciation teacher. She would always complain that when they restored the school they didn't replace the music room's crappy metal doors with nice, acoustic, soundproofed wooden ones. Specifically I think I would use Australian or African blackwood for the ceiling cladding, as blackwood is a tonewood (wood used for making musical instruments) that according to guitar makers (via Wikipedia) is prized for "warm, clear, bright sound with good volume."

Chandler Archbell: Best Final Assignment Ever!

The purpose of an acoustic tile in a lecture hall or theater is to diffuse sound while preventing echoes.  To accomplish this, I designed a chevron-like tile with different spacing between the raised and lowered parts to create a visually interesting form that looks continuous when put together with other tiles.  The tile also performs well at diffusing sound and preventing echoing.

Process sketch: initial iteration

single tile

assembly of tiles

sound diffusion in action

I then took my acoustic tile and placed it in my theaters.  Here is a section demonstrating the placement of the tiles.  The tiles near the back begin to turn downward in order to reflect the sound from the back of the theater back toward the audience.  The rows of tiles are hung using steel rods that are bolted to the exposed I-beams above.  The material of the panels would be a dark wood with a matte finish because of its reflective qualities with sound.  The matte finish would be added to prevent light reflection in (what is supposed to be) the dark theater.

Nahyung Kim: Best final assignment ever (Assignment 6B)

For my cinematek proposal, I explored the idea of separation and distinction of the theaters from the other programmatic elements. There is a physical separation of the two theaters, stacked on top of another, from the rest of the building that is surrounding this volume. The floor plate of the rest of the building is not connected to the theater volumes and there are bridges at certain points that connect them. To further articulate this idea,  I used different materials for these two parts of the cinematek. The theaters are enveloped in a concrete mass. Other than this volume, the cinematek is structurally supported on steel hollow columns, steel joists, and beams, and these are wrapped with a glass curtain wall.
Through the acoustic panels which would go inside the concrete envelope of the theaters, I wanted to extend the idea of separation by creating undulating surfaces. Movie-goers would be able to touch these panels where it is protruding into the aisles and it would be more difficult, or implied that it is not intended for them, to have physical contact with the panel at points where the surface is moving back. These vertical panels would be individually attached to the wall (with some kind of built-in sound system / speakers), leaving gaps in between each panel for sound and other utilities. The tiles would hopefully be made of steel, or another kind of metal, to still show the connection

between the theater and the other parts of the cinematek.

attachment of the acoustic panels to the wall

sketch of theater interior

SONIC performance of one panel

SONIC performance of panel assembly