miércoles, 8 de julio de 2015
lunes, 13 de febrero de 2012
sábado, 11 de febrero de 2012
The challenge of the project was to take a gallery space primarily designed for visual art and help Zaha Hadid Architects in their vision to convert it into a modern extraordinary new performance space for chamber music.The initial part of the design involved testing the baseline acoustic response of the gallery space and looking at how this could be enhanced by the installation. This included investigating how the finishes and shape of the room determined its reverberation time (a measure of how long it takes for sound to decay in a room), and caused unwanted flutter echoes from sound repeatedly reflecting back-and-forth between surfaces. The measurements also identified the level of ambient noise from external noise sources, such as road and air traffic, and from air conditioning systems within the building.
The selected gallery space is located towards the rear of the building, away from the noisy rumbling sound of Metrolink trams passing by the front. However, control of noise from the in-house air conditioning system to make it suitable for music was a challenge. The gallery has strict requirements for the regulation of air temperature and humidity to help preserve many of the precious works it houses. This meant it could not be turned off or reduced during performances. The importance of this was highlighted by the recent exhibition of 500 year old Leonardo da Vinci sketches in a connecting room to the new performance space. Control of noise from the air conditioning system was discussed with staff at Manchester Art Gallery and they were particularly helpful in carrying out works behind the scenes to help reduce noise intrusion to the new performance space.For optimum conditions for chamber music it is important to ensure that the reverberation time is not too long as this blurs individual notes so music can lose its intricacy. Equally it should not be too short as this provides a lack of response for the performer and causes the music to sound overly dry. The designers therefore looked at achieving a reverberation time of 1.4 to 1.7 s at mid-frequencies (500-1000 Hz) with a higher reverberation at lower (bass) frequencies to provide a warm room response.
Measurements in the room indicated the existing ceiling and the large void behind it provided a significant amount of acoustic absorption. This influenced the choice of materials for the installation as the designers wanted to avoid adding too much additional sound absorptive material to ensure the acoustics did not become too dry. Zaha Hadid Architects therefore investigated use of different materials for the installation, including various fabrics, metals and plastics. These were developed as 3D CAD models by Zaha Hadid Architects and were then imported into acoustic modelling software by Sandy Brown Associates. This enabled the investigation of different finishes and sculptural shapes to enhance acoustic conditions around the stage and audience areas of the space.The final installation uses a lightweight synthetic fabric (150 g/m2) supported on a rigid metal framework to provide the flowing sensual shape of the installation while minimising absorption. The shape of the frame and fabric acts to scatter sound reflections between parallel walls within the gallery to eliminate flutter echoes and provide a more even diffuse sound for audience members. Around the stage, specially shaped acrylic reflector panels have been carefully positioned and hidden within the fabric of the installation. These are designed to reflect sound with a short delay back towards the performer and out towards the audience to increase the clarity and strength of the music while maintaining the reverberant response of the room.
viernes, 10 de febrero de 2012
Traducción de la leyenda:
Rutas de senderismo, en bicicleta y ruta junto al muro:
-Principal ruta de alimentacion (a otras rutas)
-Rutas de larga distancia.
-Ruta junto al muro.
- Principal red de rutas.
-Ruta señalizada actualmente.
-Señalización prevista para el 2012.
-Señalización prevista para el 2017.
jueves, 9 de febrero de 2012
Relación arquitectura-espacio público.
Plaza tradicional: se configura como el vacio creado entre las edificaciones, la relacion existente entre los dos espacios es mediante contacto lateral.
Plaza-pliegue: Ambos espacios, tanto la arquitectura como el espacio público, se caracterizan por el modo en que se crean; mediante el pliegue del terreno, generando por un lado el cobijo de la arquitectura, que al exterior se traduce en una topografia artificial.
Plaza oradada: En este caso la totalidad de la edificación se soterra, de modo que el espacio público a su vez trabaja como la cubierta de la arquitectura. Dicho espacio público queda oradado por un juego de patios, permitiendo la entrada de luz a la edificación.
Plaza cubierta: El espacio público queda delimitado por la sombra que genera la edificación, en este caso tiene especial importancia la altura libre de la plaza, influyendo notablemente en las caracteristicas del espacio.