Budke - Andrew - FINAL Thesis Book 5.08.12

ANDREW BUDKE
SOUNDSCAPE
ARCHITECTURE FOR OUR AURAL SENSE
SOUNDSCAPE:
ARCHITECTURE FOR OUR AURAL SENSE
A Design Thesis Submitted to the

Department of Architecture and Landscape Architecture
of North Dakota State University
by
Andrew Budke
In Partial Fulfillment of the Requirements
for the Degree of
Master of Architecture
___________________________________________________
Primary Thesis Advisor

Date
___________________________________________________
Thesis Committee Chair

Date
May 2012
Fargo, North Dakota
CONTENTS
PROGRAM DOCUMENT
27
Research Results
28
Contents
Typological Research
42
Abstract
vi
Case Study Summary
54
Problem Statement
Historical Context
56
Thesis Goals
58
STATEMENT OF INTENT
Site Analysis
60
Theoretical Premise/Unifying Idea
Climate Information
74
Programmatic Requirements
88
DESIGN DOCUMENTATION
93
94
PROPOSAL
Narrative
User/Client Description
10
Process Material
Major Project Elements
11
Final Design
102
Site Information
12
Project Emphasis
20
APPENDIX
117
Plan for Proceeding
22
Reference List
118
Previous Studio Experience
24
Personal Identification
121
table of contents
|v
ABSTRACT
This thesis will examine the role of sound in the architectural experience
by asking how architecture can improve the standing of sound in the
designed environment. Possible solutions are subsequently explored
through the design of a 75,000 sq. ft. acoustical research laboratory
in Rochester, Minnesota. The projects theoretical premise/unifying
idea is: As an interaction with the built environment, the anticipated
perception of sound can be used to guide and inform the process of
architectural design. The projects justification is: Sound is a powerful
shaper of space.
Title:
Soundscape: Architecture for Our Aural Sense
Keywords:
Sound, perception, sensory, acoustical research laboratory
vi | soundscape: architecture for our aural sense
PROBLEM
STATEMENT
How can architecture improve the standing of sound in the designed

environment?
problem statement
|1
STATEMENT OF INTENT
THEORETICAL
PREMISE/
UNIFYING IDEA
TYPOLOGY:
Acoustical Research Laboratory
CLAIM:
Sound is a critical part of ones perception of a place. As such,
architectural experience can be enriched if sound is carefully
considered by the designer.
PREMISES:
Architects have historically gone to great lengths to create interesting
spaces that appeal to the sensessight, smell, sound, touch, and
tasteon a very basic level. The sculpting of light, for instance, takes
visual inputs into consideration. The frequent focus on material
texture anticipates touch. Even smell can become an important
design element as it is an inherent quality of materials.
The perception of a place is only possible through the senses. Even the
concepts of perception and sensory are practically inseparable; we
could not imagine one without the other.
4 | soundscape: architecture for our aural sense
Like any experience, architectural experience presumes the sensation

and translation of signals. Architecture, therefore, could be said to
broadcast these signals which, in turn, are translated in such a way as
to give it (the inhabited space) identity or make it unique.
The very best architecture is amusing to the senses. Even ancient
architects recognized the value of delightan idea that assumes
sensory perception and its translation. Architecture is enhanced when
the designer anticipates that interaction in hopes of creating a more
memorable, engaging experience.
THEORETICAL PREMISE/UNIFYING IDEA:

As an interaction with the built environment, the anticipated
perception of sound can be used to guide and inform the process of
architectural design.
JUSTIFICATION:
Its true that some spaces are designed with sound very much in
mind. Acoustics could never be ignored when designing a concert
hall or lecture room, for instance. Its noteworthy, however, that the
acoustics in these examples must serve another purpose that is, to
enhance the sound of an orchestra or intelligibility of a lecturer. This
is nothing less than a serious injustice as sound is a powerful shaper
of space in its own right.
statement of intent
|5
PROPOSAL
NARRATIVE
I was not always keen to the thought of addressing sound and

architecture in a design thesis. At times, I was expressly opposed to the
idea, a sentiment that grew from my educational background. During
my time at the university, I have been a student of both architecture
and music. I therefore wanted to avoid the obvious choice to design
any sort of music related building. Thats remained true to a point,
but I cant deny that the same background which caused me to shy
from the topic has also made it the most interesting.
In March of 2009, composer Frank Ticheli came to Fargo as part of
school-sponsored residency. In addition to coaching future conductors
as well as students performing his music, he delivered a number of
lectures. During one such lecture, he revealed that as a young man
he had to choose between pursuing a career in music or architecture.
Ultimately, he chose music, of course, and the world is a better place
for it, but I will wager he would have made a fine architect had the
chips fallen differently.
Ticheli spoke deftly about the architects role as designer and its
parallels to musical composition. He even specifically referenced
an entry in Matthew Fredericks (2007) 101 Things I Learned in
Architecture School regarding denial and reward (p. 11). He believed
this to be a worthy tool as much in musical composition as in

architecture (Ticheli, 2009). What I took from his lecture was a
realization that fields such as architecture and music (and sound, by
extension) may not be so disparate at all.
I later studied the influence of Beethoven on Frank Lloyd Wright
as part of a seminar taught by Darryl Booker at NDSU. This, too,
provided an interesting perspective on the relatedness of architecture
and music. I concluded that Beethovens influence could not, strictly
speaking, be seen in Wrights work. However, Wright most certainly
had profound admiration for a number of composers, believing them
to be kindred spirits of sorts. That research gave further credence to
Tichelis view that architecture and music share a certain quality of
design.
I was content with that finding although I felt it lacked a real,
concrete value. That changed after a study tour to Japan in 2010. One
of the destinations designed by Tadao Ando was Kyotos Garden of
Fine Arts, an outdoor art gallery featuring ceramic reproductions of
famous paintings. The space was truly remarkable; the gallery was set
into the ground and featured cascading water around its perimeter.
The experience was aptly described in a blog written by a visiting
Peruvian architect: The soundscape accompanies the route and has

different intensity according to the position of the viewer. Thus, a
soft murmur of water invites contemplation of The Last Supper
by Leonardo, while a stronger sound surrounds The Doomsday
(Zeballos, 2010).
This project and another by Ando (Omotesando Hills, which
featured a small stream outside and a large directional speaker inside)
offered a new, different perspective on the relatedness of sound and
architecture. There, sound was used thoughtfully as a major design
element. This insight led me to more closely examine two other
particular encounters with sound.
The earlier instance was an acoustical quirk found in the round, stone
clad space beneath the rotunda of the Manitoba Legislative Building
in Winnipeg. Anyone who speaks while standing in the exact center
of this space is sure to notice the sound of their voice reflected by the
surrounding walls and returning to the center of the circle at the same
instant. It sounds as if the speaker has been surrounded by their own
voice, as if their head were inside a huge plastic bubble.
The second, more enduring instance occurred during a choral concert

hosted by Fargos First Presbyterian Church, a Gothic Revival with a
spacious stone sanctuary. I had arrived just before the choir was to
begin and quietly took a seat against the back wall of the churchs
balcony. As the performance began, I was suddenly enveloped by the
most remarkably beautiful sound Ive ever heard; I was completely
transfixed. I felt as if every part of me was being surrounded, cradled,
and uplifted. As gorgeous as it was, it was apparent to me even then
that the effect was due less to the performers and more to the spaces
flattering treatment of their voices.
These two examples were very different from Andos designs in that they
appeared to be accidental rather than intentional. The unique space
beneath the Legislative Building resulted from the regular geometries
of its Neo-Classical design; the churchs vocal enhancement resulted
from an ancient tradition of worship spaces being built of stone.
Regardless, all of these recollections demonstrate that sound is a
spirited, if often overlooked, part of the human experience. As an
architect, it is obvious that sound should no longer be relegated to
a topic of discourse or anecdote; sound is a very real and important
aspect of architecture worthy of careful design.
proposal
|9
USER/CLIENT
DESCRIPTION
OWNER:
The Acoustical Research Laboratory will be an independently
owned and operated facility in Rochester, Minnesota. The charge
of the facility will be the study of spatial perception and emerging
biomedical technologies with regard to acoustics. Research will be
conducted by the laboratorys faculty of research fellows and graduate
students from the nearby University of Minnesota Rochester and the
Mayo Graduate School.
RESEARCHERS:
Researchers and staff at the laboratory will fall into two classes: those
who deal with patients for the purpose of medical treatment and
those who deal more generally with the phenomenon of auditory
spatial perception. All of the research fellows and most of the staff will
regularly interact with patients/subjects to either of these ends. It is
expected that researchers and staff will use the facility mostly during
standard business hours.
SUBJECTS:
Those patients who come to the laboratory for experimental treatment
are likely to experience severe hearing loss but could otherwise come
from any demographic group. The subjects may come from distant
parts of the country for various amounts of time and may or may not
be referred through the Mayo Clinics patient network. Fortunately,
Rochesters long background in renowned medical treatments has
created a large market for visitor lodgings. Subjects, too, will use the
facility during standard business hours.
MAJOR ELEMENTS
MAJOR PROGRAM ELEMENTS:

Laboratories A series of spaces suited to the study of psychoacoustics
through advanced imaging and psychophysics.
Library A repository for academic literature.
Researcher offices Work space for permanent and visiting researchers.
Administration Work space for support staff.
Support A highly flexible space able to accommodate the design and
manufacture of prototypical equipment.
proposal
| 11
SITE
REGION:
The city of Rochester, Minnesota is located in Olmsted County
southeast of the Minneapolis/St. Paul metropolitan area. This part of
the state, along with adjacent areas in Wisconsin, Iowa, and Illinois,
is part of a region known as the Driftless Area. This region is noted for
having unusually rugged terrain because it avoided glaciation. During
the most recent ice age, parts of the Wisconsonian glacier extended
as far south as Des Moines but stopped some twenty miles west of
present-day Olmsted County. The Illinoian glacier, present 300 to
130 thousand years ago, also failed to penetrate Olmsted, halting
about 25 miles to the northwest (Balaban, 1988, p. 3).
Free of glaciers, the rivers and streams of the Driftless Area, including
Rochesters Zumbro, have been free to shape the land for thousands
of years. Olmsted county, for instance, has been characterized by
geologists as having an intricate pattern of drainageways (US
Department of Agriculture, 1980, p. 1). However, much of Rochester
itself sits in a lowland plain composed of alluvial soils.
Rochester has been the county seat of Olmsted since it was first
established in 1855. The early economy of the region was based on
the production of grains. Livestock and dairy production became
more common around the turn of the century. Rochester grew
quickly during this time; it grew so quickly, in fact, that Olmsteds
urban population outnumbered its rural by the 1870s. Agriculture
Minnesota Counties, City of Rochester
data: Minnesota DNR
continues to be a major industry although much of the regions

modern economy is tied to the health and technology fields (US
Department of Agriculture, 1980, p. 2). The county also produces
a great deal of construction aggregate, made possible by the regions
unique geology.
Olmsted County Hydrology
data: Minnesota DNR
CITY:
Downtown Rochester is located on the Zumbro River about 80 miles
from Minneapolis/St. Paul. The communities of La Crosse, Wisconsin
and Albert Lea, Minnesota are located at similar distances to the east
and west respectively. According to the US Census Bureau (2011),
Rochesters population stands at 106,769, making it Minnesotas
largest city outside of the Minneapolis/St. Paul metro.
Rochester is often associated with the Mayo Clinic, a highly-respected
and world-renowned medical facility. The clinics namesake was Dr.
William Worrall Mayo, who arrived in Rochester in 1863 as an
examining surgeon for the Union draft board. His two sons, William
and Charles, were born in Rochester and followed their father into
medicine. The three men were the first physicians to practice at St.
Marys Hospital, which was established by the Sisters of St. Franics in
1889. The need for such a facility was realized when the nuns were
pressed into service as nurses after a deadly tornado destroyed much
of Rochester in 1883 (County of Olmsted, Minnesota, 2011).
Olmsted County. Municipalities, Transportation
data: Minnesota DNR
St. Marys hospital, located just a half-mile from downtown Rochester,

remains an important facility for the Mayo Clinic. The clinic also
proposal
| 13
operates a number of newer, even larger facilities within downtown

itself. This downtown campus is connected by a series of pedestrian
subways that allow employees and patients to move between buildings
easily in any season. These subways are also accessible from skyways
that connect numerous non-medical buildings, creating a sizeable
pedestrian network throughout downtown.
Rochester, focus region and site
Today, the Mayo Clinic employs around 32,000 people, roughly

equivalent to one-third of Rochesters population (Hansel, 2010).
Rochesters second largest employer is IBM, which operates a major
manufacturing and research facility on the citys north side. The
exact number of people employed at this site has been hard to gauge
since the company stopped disclosing those numbers after recent
downsizing. The latest figure was 4,200 at the end of 2008, although
the current number is surely lower (Kiger, 2008).
Rochesters downtown district is demarcated by a series of large parking
lots and ramps near the Mayo Clinic. While unfortunate, the space is
needed to accomodate the huge influx of employees and patients who
travel to use the facility during the day. Interestingly, the Rochester
Downtown Alliance has published a set of design guidelines calling
for the establishment of an urban village around First Avenue near
the clinic. The guidelines, which read somewhat like a New Urbanist
manifesto, were informed by research that found 37% of the study
area (several blocks south and west of this projects focus region) was
used for surface parking (RDA Development Committee & RDA
Board, 2009, p. 13).
City of Rochester including focus region
data: Minnesota DNR
Mayo Clinic (approximate extent)

St. Marys Hospital (Mayo Clinic)
RDA Vision Plan: Urban Village Study Area

Project Focus Region
photo: City of Rochester, (RDA Development Committee & RDA Board, 2009, p. 44)
proposal
| 15
SITE:
The site for the Acoustical Research Laboratory is just outside
Rochesters civic district at the confluence of the Zumbro River and
Bear Creek. The site is just east of downtown and is bounded by
Fourth Street to the south, Third Avenue to the west, and waterfronts
to the north and east. Nearly all the block is used as a parking lot
although there are several small buildings as well. One of the
buildings is a garage which houses county vehicles; the other is an
office building known as Ironwood Square. The center of the block
features a wellhouse and water cistern used by the city.
A very large civic complex sits on the adjacent block to the west. This
building houses Rochesters city hall, Olmsted County government,
an adult detention center, and a law enforcement center. Directly
across the river are Mayo Park, the Rochester Art Center, and the
Mayo Civic Center. These locations, as well as the adjacent public
library, can be accessed from the site with relative ease via the Third
Avenue bridge.
The parking lot is used by government employees during the week,
but some spaces remain available for visitor day parking. The lot is
used for Civic Center event parking during the evenings and hosts
93 vendors from the Rochester Downtown Farmers Market every
Saturday in May through October.
LINKS:
The area near the waterfront is used extensively for recreation. In
addition to Mayo Park to the north, the bank east of the site is used
as a park and playground. The Zumbro River and Bear Creek are
flanked on both sides by bike/recreational trails, which link with
other trails to form a network throughout the community.
Other access to the site is by automobile from Third Avenue or
Fourth Street. There are five city bus routes which pass near the site.
Four of them follow Third Avenue southbound, but one, the number
three, follows Fourth Street to the east. All bus routes return regularly
to a downtown hub. There is no direct skyway or subway access to
the site. However, the nearby government center is connected to the
network via an enclosed pedestrian bridge across the Zumbro.
The Mayo Clinic is located approximately five blocks west of the
site, although it uses a number of buildings throughout the city.
The University of Minnesota Rochester (UMR) occupies a series of
downtown buildings about three blocks to the west.
Zumbro River
Ironwood Square
Office Building
Wellhouse
Bear Creek
Third Avenue
Cistern
Olmsted
County
Garage
Fourth Street
photo: City of Rochester
proposal
| 17
Why this site?

When determining a typology and site with which to address the
problem statement, it was with some reluctance that I settled upon
an acousical research laboratory. After all, I have argued that sound
is an important part of perception worth celebrating; the project
could focus on any building type anywhere in the world. Eventually,
however, I determined that the more fruitful approach would be
guided by the phrase a celebration of sound. With this in mind,
the laboratory typology is logical because sound can be celebrated
through researcha quest to understand this perceptual phenomenon
at a fundemental level.
Rochester was chosen because it is a city with a reputation for research
brought about by the past efforts of IBM and the Mayo Clinic. Not
surprisingly, the populace is highly educated; census statistics for
persons holding a high school degree and persons holding at least a
bachelors degree are both significantly higher than state and national
averages (US Census Bureau, 2011). With new and rapid investment
by the University of Minnesota Rochester, it is likely that the citys
capacity for research will continue to grow.
This particular location within Rochester is unique for several reasons,

including its proximity to the downtown civic, business, and medical
districts. The confluence of waterways lends an interesting shape to
the site and offers unobstructed views in three directions: a park and
residential neighborhood to the east, Mayo Park and the Rochester
Art Center to the north, and Rochesters skyline to the northwest. The
sites use as a parking lot is, in my opinion, a gross underutilization of
a naturally beautiful location.
This sites natural background sounds have an interesting character
which offer possibilities beyond what other locations might present.
The lot is very near to the city center, yet it is not quite urban; it is
found near a series of sleepy parks, yet it is not tranquil itself. As
a soundscape, there is a rivalry of sounds between what one would
expect from an urban setting and a more pastoral one.
proposal
| 19
PROJECT
EMPHASIS
This project will have two emphases resulting from the theoretical
premise/unifying idea. The first emphasis will be integrating
innovative acoustical design into all aspects of the project. In this way,
the project itself will become a showcase for acoustically interesting
spaces.
The second emphasis is a pragmatic approach that assumes the field of
environmental design benefits from innovations made in the research
community. This will be addressed by the projects program. With a
focus on biomedical research, those who experience hearing loss will
directly benefit from improved quality of life. For those with hearing
impairment, the sensation of sound will become an important part
of the designed environment through advancements in research and
treatment.
proposal
| 21
PLAN FOR
PROCEEDING
RESEARCH DIRECTION:
An in-depth study of spaces suitable for acoustical study, precedents
in research facilities, trends in medical research facilities, and the
space requirements of each will be critical to proceed. Analysis of
the context and history of the site will be important so as to better
integrate the design into the community.
DESIGN METHODOLOGY:
This design thesis will use quantitative and qualitative data, digital
analysis, and interviews as part of a concurrent transformative
strategy. Text and graphics will be used to relay the findings from
research on sound psychology.
PROCESS DOCUMENTATION:
All sketches and drawings will be archived digitally ever week to
ensure a complete record. Physical models will be also be archived
via digital photography. The models themselves will be held until the
conclusion of the project. The digital archive will be made available
online at andrewbudke.wordpress.com.
Jan
Feb
Mar
Apr
May
Context Analysis
Conceptual Analysis
Spatial Analysis
ECS Passive Analysis
Floor Plan Development
Section Development
Structural Development
Materials Development
Midterm Reviews [3/5-3/9]
Envelope Development
Structural Redevelopment
Context Redevelopment
ECS Active Analysis
Project Revisions
Project Documentation
Presentation Layout
Plotting and Model Building
Exhibits Installed on 5th Floor [4/23]
Preparation for Presentations
Final Thesis Reviews [4/26 5/3]
CD Due to Thesis Advisers [5/7]
Final Thesis Document Due [5/10]
proposal
| 23
STUDIO
EXPERIENCE
Fall
2008
Teahouse
Fargo, ND
Vorderbruggen
Spring
2009
Boathouse
Minneapolis, MN
Vorderbruggen
Dance Studio
Fargo, ND
Booker
Fall
2009
Dwelling
Marfa, TX
Booker
Firehouse
New Ulm, MN
Martens
Satellite School
Pangnirtung, NU
Martens
Spring
2010
Aquatic Center
Muncie, ID
Urness
Transit Hub
Fargo, ND
Urness
High Rise
San Francisco, CA
Kratky
Passive House
(Design/Build)
St. Paul, MN
Srivastava
Fall
2010
Spring
Summer
Fall
2011
proposal
| 25
PROGRAM DOCUMENT
RESEARCH
ACOUSTICS:
The underlying science of sound has been a topic of study
for thousands of years; the work of Pythagoras, an Ionian
Greek active in the Sixth century BC, may be the earliest of
an empirical nature. Using a simple monochord, he was able
to describe the mathematical relationships between musical
intervals (Charles M. Salter Associates, 1998, p. 15). While
remarkable, Pythagorass discovery focused on ratios and
proportions, things of a geometric nature, not on actual sound
physics (i.e. acoustics). Since his time, however, the physics
behind sound has been illuminated to the point that it is now a
relatively well-understood phenomenon.
Sound occurs in waves with each wave being a disturbance of
molecules within a medium resulting from a vibrating object
(Charles M. Salter Associates, 1998, p. 27). When a sound
wave reaches a person, small organs inside the ear vibrate in
response. Those organs then convert the information into an
electrical signal which is sent to the brain. Thus, the sensation
of sound could be said to have three major components: source,

path, and receiver.
Sound is described in waves because of the alternating pattern
of compression and rarefication (high and low pressure) of
molecules in the medium (the path component). The cycles
rate of occurrence is described by frequency and the unit hertz
(Hz). The concept is analogous to pitch in music although pitch
refers specifically to the perception of frequency. The human
hearing range is between 20 Hz and 20,000 Hz (Charles M.
Salter Associates, 1998, p. 29).
The sine function is commonly used to graphically represent
the oscillation between high and low pressures. Most sounds are
much more mathematically complex than the sine wave. The
so-called pure tones of perfectly constant frequency are only
producible using electronic equipment. Most sound sources
have a characteristic combination or mixing of frequencies
called a spectrum. Musicians refer to this quality as timbre or
color (Charles M. Salter Associates, 1998, p. 29).

A sounds loudness is a perception of sound pressure described
in pascals (Pa) or decibels (dB). This is described graphically
by a waves amplitude. Just as with frequency, not all sound
pressures are perceptible. The human threshold of hearing
occurs around 20 mPa and the threshold of pain around 200
Pa. The more common unit, the decibel (technically a measure
of sound pressure level [SPL], but also of sound power level
[Lw] or sound intensity level [Li]), uses a logarithmic scale to
describe the same thresholds at 0 dB and 140 dB respectively
(Charles M. Salter Associates, 1998, p. 31).
smooth surfaces which behave much like mirrors in optics; the

angle of incidence is equal to the angle of reflection.
Reflection means that a single sound will travel many different

distances (corresponding to numerous paths) to reach the
receiver. An echo occurs when an indirect sound a wave
having been reflected arrives sufficiently late (after a 60 ms
threshold of perception) with perceptible amplitude (Cowen
& Acentech, 2000, p. 11). Reflections are also responsible for
room resonance, which occurs at certain frequencies when two
reflective walls are placed parallel to one another. If the distance
between the walls is equal to a whole-number multiplier of
a frequencys wavelength, a standing wave will form, causing
Sound waves are capable of changing direction. When they do, sound pressures to be reinforced or canceled at certain locations.
the change can be categorized as one of the following: reflection, At these frequencies, the room will have poor sound distribution
refraction, diffraction, and diffusion. A reflection occurs when (p. 12).
the sound wave encounters a sharp discontinuity in the density
of a medium causing some of its energy to bounce off (Cowen Refraction describes the action of a sound wave when it
& Acentech, 2000, p. 10). Sound reflectors are usually hard, encounters changes in medium conditions that are not extreme
program document
| 29
enough to cause reflection, but are enough to change the speed

of sound (Cowen and Acentech [firm], 2000, p. 14). The speed
of sound transmission varies widely depending on the molecular
density and temperature of its medium. For instance, sound
waves will travel faster through steel than through air and faster
through hot air than cold air. As sound waves travel, they will
encounter drag from the colder parts of the medium, causing
them to bend or turn. Cowen and Acentech [firm] (2000)
describe a scenario in which the air nearest the ground is cooler
than the air above it: In this case, sound waves bend downward
toward the ground. If the ground surface is reflective, sound
waves bounce along and travel farther than one might expect.
This is the case near a calm body of water, where conversations
at opposite side of lakes can often be clearly heard (p. 14).
the source and the barrier extent and the barriers height above
the ground (Cowen & Acentech, 2000, p. 15).
Diffusion is a form of reflection off a convex or uneven surface.
As a sound wave strikes such a surface, its energy is spread
evenly in multiple directions rather than the single direction of
a simple reflection (Cowen & Acentech, 2000, p. 11).
An important design consideration relevant to this discussion
is reverberation, the sum of diffuse sounds over time. Diffuse
sounds arrive at the receiver indirectly to form a diffuse sound
field. In contrast, a free sound field has no such reverberation.
Rather, it is a medium where only the direct sound reaches
the receiver. This condition is characteristic of an anechoic
chamber (Charles M. Salter Associates, 1998, p. 33).
Diffraction occurs when sound waves bend around barriers such

as walls regardless of material or texture. Even so, a shadow The basic principles behind sound as a phenomenon are not
zone is experienced for a certain distance behind the obstacle. terribly complicated; in many ways, sound behaves much like
The shape of this zone is derived from the line of sight between light in the way that it reflects off surfaces and follows lines of
sight. This view, however, betrays the true complexity of sound

as it is perceived. Consider the following passage by Blesser and
Salter (2007) regarding the difficulties of studying acoustics
relative to optics (these issues will form the foundation of many
of the assertions put forth in the section The Standing of
Sound):
First, light waves moves [sic] instantaneously, whereas
sound waves move relatively slowly. Second, the highest
frequency of visible light is less than 2 times as great as the
lowest, whereas the highest frequency of audible sound is
1,000 times greater than the lowest. Third, relative to the
size of object and surface variations, the wavelength of
light waves covers an extremely narrow range, whereas the
wavelength of sound waves covers a wide range, large at
low frequencies and small at high frequencies. (pp. 215216)
Even tiny currents or temperature variations in air can result in
significant fluctuations in the properties of sound as it is sent and
received. Additionally, acoustical engineers are limited in their

ability to use computer models to fully predict the behavior of
sound in some spaces. Accurate simulations of large, irregularly
shaped spaces such as concert halls are beyond the practical
limits of todays computing power (Blesser and Salter, 2007,
pp. 240, 244).
PSCHOACOUSTICS:
The terms hearing or listening carry many implications
regarding the collection and processing of auditory information.
Recalling the source-path-receiver model, the receiver component
deserves further analysis.
The raw sensation of sound is strictly a biological process which
begins with the structures of the outer ear. The pinnae are the
visible portions of the ear. Their distinctive shape is responsible
for modifying the incoming spectrum of sound enough to
aid in localization, especially in the up-down and front-back
dimensions. The sound is then carried to the middle ear via
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| 31
Semicircular
Canals
Ossicles
Vestibular
Nerve
Cochlear
Nerve
Ear Canal
Cochlea
Ear Drum
Pinna
Structures of Outer, Middle, and Inner Ear
adapted from Wikimedia Commons
the ear canal, the size and shape of which amplify frequencies
between 2000 and 4000 Hz. (Charles M. Salter Associates,
1998, p. 37).
certain tiny hairs called cilia. This action by the cilia causes
corresponding neurons to fire, thus signaling the start of a
neurological process (Charles M. Salter Associates, 1998, p. 38).
The middle ear consists of the ear drum and ossicles, a set of
three tiny bones, which are responsible for converting sound
pressure into mechanical energy. This mechanical energy is
quickly turned into fluid pressure as it reaches the cochlea, a
structure of the inner ear. The fluid pressure inside the cochlea
causes vibration of the basilar membrane and the bending of
Various cognitive processes are then set in motion which

give meaning to aural sensation based on personal history,
experience, and cultural influences. The sum total of these
processes is referred to as perception. Beyond basic perception
is affect, an often subconscious state of emotionally engaged
listening characterized by a visceral response. This explains
why people might cry or enter a trance after hearing certain

personally significant sounds or music (Blesser and Salter,
2007, p. 13). Listening, by contrast, is the active discrimination
of sound based on remembered experiences (Blesser and Salter,
2007, p. 328).
This brings us squarely into the realm of psychoacoustics,
described thusly by Charles M. Salter Associates (1998):
Psychoacoustics is a joint field of physics and psychology
that deals with acoustical phenomena as related to
audition. The relationship between physical acoustic
variables and human response is not linear and cannot
be precisely predicted. A wide variety of psychoacoustic
measures are used to correlate the physical measurement
of sound with peoples subjective response, depending on
the specific application. (p. 43)
A simple example of this is the weighted scale used to describe
human sensitivity to certain frequencies over others. Humans
are most sensitive to frequencies between 500 and 4000 Hz, a

range roughly equivalent to that of human speech (recall that
the ear canal actually amplifies these frequencies). It follows
that frequencies outside of this optimal range would have to
be enhanced in order to be perceived as equally loud. The
most common scale used to do this is the A-weighted scale
(dBA) developed by the American National Standards Institute
(Cowen & Acentech, 2000, p. 19).
One of the most interesting psychological factors relevant to
psychoacoustics is the way in which the perception arises from
a developing brain. Scientists have found that the number of
neurons in a persons brain peaks even before birth. The infant
brain, however, lacks the stable neural connections of an adult,
making it incredibly plasticthat is, more capable of learning.
Psychologists categorize learning in one of three ways. The first
is experience-independent which is hard-wired or innate and
requires limited environmental exposure. Experience-dependent
or soft-wired learning, on the other hand, requires significant
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exposure. Experience-expectant learning is only possible during common to use the terms sensory modality and the five senses
a certain window of opportunity defined by the stage of brain (known to schoolchildren as sight, hearing, touch, smell, and
development (Blesser & Salter, 2007, p. 325).
taste) interchangeably.
Scientists often assume that the cognitive pathways governing
aural perception are either experience-independent or -expectant
either hard-wired or fixed after a certain age. However,
Blesser and Salter (2007) cite at least four examples of human
or animal studies which suggest some degree of plasticity even
in adult brains (pp. 325-327). This information leads us to two
important conclusions: an individuals mind can be understood
as a reflection of both inborn and learned influences (i.e.
culture), and individuals are capable of understanding the
world via different sensory avenues (i.e. modalities).
AUDITORY SPATIAL AWARENESS
Technically, a sensory modality refers to a phenomenon that
can be sensed, such as temperature, pressure, or light. But since
these sensations so closely mirror the major sense organs, it is
The sensory modalities are responsible for all of ones connections

with the surrounding environment. When asked to define
ones surroundings, a process called cognitive mapping, all
the modalities are employed. The mind assembles all available
perceptual information and fuses it into a single understanding
or image of external reality. This is an active process in which
the individual is capable of weighting the perceptual inputs
according to preference or usefulness (Blesser & Salter, 2007,
pp. 46-49).
For most people in todays Western culture, the modality
that most often dominates the cognitive mapping process is
unquestionably sight. But this is not the case with all individuals,
nor all cultures. It is true that human beings are capable of
remarkable vision, but this alone does not explain why a single
sense would come to so totally dominate the others. As we have

seen, the human brain represents a curious amalgam of inborn
and cultural influences.
weight during cognitive mapping.
It is not surprising, then, that there are blind individuals who

achieve spatial acuity rivaling that of the sighted through the
Western culture has shown great investment in understanding use of the remaining senses, especially the aural. Blesser and
the forces that shape the visual sense while paying relatively little Salter (2007) provide published accounts of several remarkable
attention to the aural sense. As Blesser and Salter (2007) state, individuals including Martin, a resident of New York City,
In contrast [to aural space], our knowledge of visual space capable of crossing busy thoroughfares and boarding streetcars
was already advanced by the sixteenth century. Painters already without betraying his blindness and Ved Mehta, a native of
understood the rules of light, color, reflectivity, perspective, Calcutta, who rode his bicycle and jumped between rooftops
and shadows. There is still no established counterpart for aural as a young boy (p. 38). The most well-known person to ever
painters (p. 215).
develop such ability was Ray Charles, the famous soul musician.
Charles was completely blind by age seven but still managed to
When a person does not have use of one of the senses, they must ride his bicycle and chop wood. He never owned a dog or a
rely on the remaining senses to create their cognitive map. The cane, believing they represented blindness and helplessness
blind, for instance, still have use of the aural, tactile, olfactory, (p. 39).
and gustatory senses with which to form internal spatial images.
It is important to remember that that the other four senses Scientists have traditionally referred to this ability as
do not actually get stronger but are instead assigned a greater echolocation, a misnomer. Recall that other mammals (which
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have all inherited the same basic structures and arrangements

within the ear) echolocate, most notably bats and dolphins,
producing a sound and then mapping their surroundings based
on the acoustical response. Indeed, some humans do practice
true echolocation by tapping a cane or foot or making clicking
noises in order to map their surroundings. However, the ability
described above is entirely passive, requiring no inputs from
the subject. Using only background noise, some individuals can
literally hear the sonic shadows or imprints of surfaces and
objects. Blesser and Salter (2007) more accurately refer to this
ability as auditory spatial awareness (p. 37).
The heightened auditory spatial awareness exhibited by Ray
Charles and Ved Mehta is obviously quite rare, but the talent
is not the exclusive property of the blind. With special training
and practice, sighted individuals have learned to navigate in
much the same way. For that matter, many blind people instead
develop a preference for the tactile sense when mapping their
surroundings (Blesser & Salter, 2007, p. 38). In fact, all persons
with functioning hearing experience space aurally (auditory

spatial awareness) to some extent, but the ability often lies
latent, rarely developing beyond the subconscious.
THE STANDING OF SOUND
In the essay An Architecture of the Seven Senses, architect
and theorist Juhani Pallasmaa begins by flatly stating, The
architecture of our time is turning into the retinal art of the eye
(Holl, Pallasmaa, & Perez, 2006, p. 29). He asserts that todays
architecture has cowed to photography, effectively flattening
itself and minimizing its inherent charm. Similarly, Blesser and
Salter (2007) begin their text by stating, Architects almost
exclusively consider the visual aspects of a structure (p. 1).
Architecture and other environmental design could be thought
of as the thoughtful shaping of space, the manipulation of
volume. But as these authors have already noticed, it is clear that
the discipline is dominated by visual thought. Even educational
texts like Chings (1979) Form, Space, and Order clearly reflect
a visual paradigm. This is in spite of the modern understanding Blesser and Salter (2007) offer some perspective on this point
of cognitive mapping which, as we have seen, is fashioned from and outline why sound is uniquely qualified to transmit spatial
all available senses.
information. First, light moves instantaneously while sound
moves much slower by comparison. So while light can provide
Since architects deal in the shaping of space (and, by extension, information about only the current moment, sound describes
its perception), those who believe in artful architecture ought both the past and present. Time is a central component of
to take notice of the multisensory nature of cognitive mapping. sound. Second, people create sound but not light. This means
This is the premise behind the collection of writings by Steven that a space will respond to its occupants, creating a sort of
Holl, Juhani Pallasmaa, and Alberto Perez-Gomez (2006) dialogue between animate and inanimate objects (Blesser &
titled Questions of Perception. In this volume, Pallasmaa keenly Salter, 2007, p. 16).
observes that the elements of architecture are measured by
all the senses (He adds skeleton and muscle as natural gauges The Blesser and Salter (2007) text also introduces a number
of scale and weight to the five traditional senses) (p. 30). Holl of terms including aural architect, which is used to describe
describes how architecture is the only medium which is capable anything that shapes a spaces aural architecture or observed
of simultaneously engaging all of the senses, outclassing even acoustical properties. The term is loosely applied to people
cinema (p. 41). Pallasmaa goes on to describe hearing as the (designers and occupants, past and present), objects, and even
sense best suited to connect one to the surroundings as well as socioeconomic forces (p. 5).
the past (p. 31).
Behind this terminology, there is a great line of reasoning, one
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that highlights the inherent futility of a designed soundscape: It

is occupants and their actions that will ultimately determine the
sonic character of a space. However, I propose that a distinction
be made between passive and active intentional shaping of aural
space. We must alter the terminology so that the unwitting
players and forces described by Blesser and Salter (2007) be
known as aural authors, while we reserve the title aural architect
to be more in line with the typical description of designer. An
aural architect, then, is a person noted for the artful shaping of
aurally perceived space.
performance, resulting in unusually long reverberation times

(Blesser and Salter, 2007, p. 120).
Let us now briefly examine the work of Christopher Janney.

Equal parts artist, musician, architect, and tinkerer, Janney
has made a name for himself by creating urban musical
instruments, installations like Soundstair and Reach which
produce sound and/or light after being activated by passersby
(Janney, Dunlop, Janney, Lampert-Greaux, 2006, p. 22, 34).
As these works do not derive their meaning from the shape of
the surrounding space, we could not call Janney a true aural
Western culture has a weak tradition of producing aural architect. Instead, the urban musical instruments give meaning
architects of this sort. That may be changing given the special to their surroundings; the sounds they produce populate the
attention paid to the design of musical spaces such as concert local soundscape, adding to the sonic soup of the space. They
halls, but spaces outside of the musical realm rarely receive are about place rather than space.
such attention. Even in the design of some performance spaces,
acoustic considerations have been outweighed by other factors. AN AURAL ARCHITECTURE
Such was the case with Berlins Philharmonic Hall where Blesser and Salter (2007) use the term acoustic arena to describe
geometric symbolism was given precedence over acoustical the area where listeners can hear a sonic event because it has
Acoustic Arena
sufficient loudness to overcome the background noise (p. 22).

If we modify the concept slightly to focus on the listerner, we
notice that the acoustic arena represents all the events a listener
can possibly hear. When imagined three-dimensionally, the
acoustic arena describes the region capable of providing sonic
information; it is the shape of a listeners aural space. In such
space, sound is the only relevant carrier of information.
Space is given definition by surfaces. We can combine this
spatial concept with the source-path-receiver model of sound to
imagine a spaces surfaces as sources (i.e. broadcasters or rebroadcasters of sound energy, not necessarily generators), the
listener as receiver of spatial information, and the intervening
space as the path.
Diffusing surfaces are similarly opaque in that they represent a

sonic boundary. However, borrowing another term from Blesser
and Salter (2007), diffusing surfaces demonstrate the possibility
of aurally texturing the surface, effectively creating aural
wallpaper (p. 59). On the other hand, a perfectly absorbent
surface, which returns no incident acoustic energy, is incapable
of providing sonic information to the listener; it is acoustically
absent.
With this in mind, it is possible to anticipate the shape of an

acoustic arena (perceived aural space) based on the behavior
of the defining surfaces. We can represent this visually using
a sphere to signify the theoretical limit of ones acoustic arena.
This is analogous to the volume of space from which the listener
can ever expect to receive sonic information. If, from any direction,
Recall that a surfaces response to incident sound can be no sound information is received, the listener can only say that
categorized as either reflection, diffusion, absorption, or some such a dimension is of indeterminate measure. Without aural
combination of the three. A perfectly reflective surface, one that definition, the condition is effectively spacelessequivalent
returns all incident acoustic energy, is incapable of providing to total absorption. Thus, the sphere also represents the aural
sonic information beyond itself; it is acoustically opaque. shape of a free sound field or an anechoic chamber.
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We can generate various other aural shapes by introducing combinations of

opaque surfaces to this first sketch. It is worth noting here the asymmetry
between visual and aural transparency. A window, for instance, may be visually
absent but aurally opaque; an absorbent panel may be visually opaque but
aurally absent. This exercise provides us with a palette of aural shapes suitable
for the crafting of space.
Anechoic
Open Field
Pavillion
Wall
Corner
Awning
Edge
Narrow
Passage
Alley
Courtyard
Opening
Chamber
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CASE STUDY
#1
SALK INSTITUTE
LOUIS KAHN
LA JOLLA (SAN DIEGO), CA, USA
Site Plan
(Steele, 1993)
The Salk Institute for Biological Studies may be the most celebrated
and iconic design of Louis Kahns career. The view from the institutes
central court is instantly recognizable: stark concrete volumes arrayed
parallel to a thin stream of water stretch toward the azure ocean
horizon. One writer has described the courtyard as a soundless,
open space focused on infinity (Shepherd, 2002, p. 44).
Jonas Salk, the institutes founder and namesake, is best remembered
for developing the first ever effective polio vaccine in 1955, an event
that brought him considerable fame. Salk approached Kahn in 1959
although he did not intend to enlist the architect (Steele, 1993, p. 2).
Salk hired Kahn after visiting Richards Medical Labs in Philadelphia.
For the facility, Salk had some high expectations reflecting his views on
medical research. Kahn quoted Salk as saying, Medical research does
not belong entirely to medicine or the physical sciences. It belongs
Ground Floor Lab Plan
(Steele, 1993)
Upper Floor Lab Plan
(Steele, 1993)
to the population (as cited in Steele, 1993, p.2). The Salk

Institute, therefore, needed to be more than a research
facility; it needed to be an academy-like setting where the
schools of science and humanism could intermingle.
Transverse Section
Elevation
Massing
(Steele, 1993)
derived from Ellis (1991)
Kahn imagined three major elements for the facility: the

main laboratory building, a living space, and a meeting
space which would include an auditorium, library, dining
room, gym, and guest quarters (Steele, 1993, p. 5). Sadly,
only the first of these buildings was realized; subsequent
additions have been made to the laboratory building, but
the scheme is quite different from Kahns original vision.
The Salk is organized symmetrically around a central
courtyard with two main buildings on either side. Each
building appears to be four stories tall, but a closer
examination reveals six. Building codes restricted the
structures height, so the additional two levels were sunk
into the ground. These spaces still reveal ample daylighting
thanks to enormous lightwells (40 feet long, 25 feet deep),
which flank the building on either side. More curious, each
six-story building contains only three usable floors; the
remaining three are used only for mechanical equipment
(Shepherd, 2002, p. 49).
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These interstitial spaces are the key to the projects

continued success. As a research facility, the laboratory
spaces demand ultimate flexibility in terms of both layout
and mechanical equipment. The service spaces house 13
nine-foot-tall Vierendeel trusses spanning 65 feet that
allow the laboratories to be completely without walls
or columns (Steele, 1993, p. 5). The full-height service
floors can be easily rearranged to accommodate the
laboratories changing wiring, plumbing, and ventilation
requirements. The service floors are daylit in the same way
as the laboratories and utilize removable glass for painless
reconfiguration (Shepherd, 2002, p. 49).
The iconic serrated masses that line the courtyard contain
the institutes 36 science fellow offices. These study towers
are accessed from the interstitial levels, lending them
an extra measure of privacy. The fellows were initially
uninterested in the extra spaces since they were accustomed
to working in their laboratories. They soon warmed to the
spaces though, which gave the scientists a contemplative
retreat from the lab setting (Shepher, 2002, p. 46).
Structure
Circulation to Use
Hierarchy
Geometry
This case study is unique in that, when first built, the facility
was solely devoted to research; there was very little usable
room allocated for non-laboratory or non-office spaces.
It is also a quintessential example of flexible, column-free
laboratory design made possible by the brilliant use of
Vierendeel trusses and interstitial spaces.
Daylighting
The austere quality of the courtyard design is the perfect

complement to the sites oceanfront location, although,
interestingly, this was not Kahns idea. Rather, it was
recommended by Luis Barragan (Shepherd, 2002, p. 49).
More important is the way in which Kahn responded
to the climate Salk wished to create. The artful, pensive
quality of the building reflected Salks biophilosophy that
scientists, artists, and philosophers all seek to illuminate
the nature of humanity.
Plan to Section
I find Shepherds (2002) comment on the courtyard,

soundless, open space, to be extremely interesting (p.
44). Given the context, Shepherd is speaking figuratively.
The courtyard is not literally without sound, yet the
feelings evoked are so stark and elemental that he describes
the place as soundless.
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CASE STUDY
#2
SVALBARD RESEARCH CENTRE

JARMUND/VIGSNAES ARCHITECTS
LONGYEARBYEN, SVALBARD, NORWAY
The Svalbard Research Centre is striking in many ways. Most
remarkable may be its location in the hamlet of Longyearbyen in the
Svalbard archipelago far north of Norways mainland. The community
is located well beyond the Arctic Circle at 78 degrees north latitude
or about four hours from Oslo by plane (MacKeith, 2006, p. 115).
Second Floor Plan
(Svalbard Science Centre in Longyearbyen, Svalbard, 2007)
Ground Floor Plan
The research center is a massive expansion for the University of

Svalbard, which operates the facility for arctic research; some 91,500
sq. ft. were added as part of the project. The facility now houses the
new Svalbard History Museum and enough office, classroom, and
laboratory space for 300 students in four academic disciples. Each
discipline (biology, geology, geophysics, and technology) occupies its
own arm of the building. The four arms converge at a central space
where the common spaces such as the library, dining hall, machine
shops, and storage rooms may be found (MacKeith, 2006, p. 115).
The building is visually remarkable from both the interior and exterior.
The exterior is clad with standing-seam copper, which practically
glows during the long arctic night. The interior makes extensive use
of the laminated spruce as a structural and finish material. All of
the materials used in the expansion had to be shipped to the remote
location. The buildings structure is mostly provided by steel framing
within the wall section. The designers took care to embed this steel
frame deep within the wall so as to thermally isolate it from the
harsh exterior conditions (Svalbard Science Centre in Longyearbyen,
Svalbard, 2007, p. 1478). The building is supported several feet off
the ground by 250 steel pilings driven 36 ft. into the earth (MacKeith,
2006, p. 117).
Daylighting
Section
Section/Elevation
(MacKeith, 2006)
The buildings highly faceted shape almost seems to take its cue
from the walls of the surrounding fjord. In fact, the buildings form
is highly performance-based having been derived from extensive
digital modeling. The architects used small scale models to gather
baseline information for a computer program. They then applied a
method known as computational fluid dynamics to gather feedback
while finessing the model into its final form. This is the reason for the
centres faceted appearance and its position above the ground, which
allows blowing snow to pass unobstructed beneath the building
(Svalbard Science Centre in Longyearbyen, Svalbard, 2007, p. 1480).
This approach allowed the design team to reduce wind loads and
thermal exchange while eliminating snow drifts around the building
(MacKeith, 2006, p. 114).
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Hierarchy
Geometry
Circulation to Use
Structure
Unlike Kahns Salk Institute, the Svalbard Research Centre is

an addition to an existing building (to be fair, the expansion is
approximately four times larger than the original). The program of
this project is also significantly expanded beyond that of Salk; the
building in Svalbard effectively houses an entire university campus.
Beyond the expected spaces such as classrooms, offices, and dorms,
the research center contains a museum, an archive, machine shops,
and an auditorium.
Plan to Section/Elevation
Massing
The climatic responses seen in Svalbard are far more relevant to

Minnesota than those at the Salk. Kahn was able to take advantage
of the mild Southern California climate and use uninsulated concrete
throughout the design. The situation is obviously quite different from
Svalbard where insulation of the structural framing was a critical
detail.
Another interesting element of this project is the role played by
computer software. Digital modeling of the buildings aerodynamics
actually became part of the feedback loop for evaluating the buildings
design rather than being a simple afterthought. This level of preconstruction performance assessment no doubt gave the architects
the information needed to design for such an inhospitable location.
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CASE STUDY
#3
41 COOPER SQUARE
MORPHOSIS (THOM MAYNE)
NEW YORK, NY, USA
41 Cooper Square is a new academic building for New York Citys
Cooper Union. The school hired Morphosis to design a facility
capable of housing its art, architecture, and engineering programs
in a single building rather than the separate locations they had been
using. This was an important feature for the school as it wanted
to foster collaboration and cross-disciplinary dialogue among the
schools three departments (Morphosis, 2009, p. 40). Through
this and other elements, the design indicates a high level of social
awareness. The building was constructed across the street from the
schools very first building and added 175,000 sq. ft. to the campus.
Ground Floor Plan
(Morphosis: 41 Cooper Square, New York, New York, U.S.A., 2009)
Fourth Floor Plan
The building incorporates numerous green features which have

earned it a LEED-platinum rating. Foremost among these is the
buildings double-skin cladding consisting of glazing and perforated
stainless-steel panels. The second skin acts as a layer of insulation in
cold months by holding in the buildings heat. In the warm months,
the steel panels reflect the suns radiation and, again, help regulate the
internal temperature. The skin contains operable panels which may
be opened or closed for finer adjustment (Morphosis, 2009, p. 40).
Section
Elevations
Circulation
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Other sustainable considerations at 41 Cooper Square include a green roof which

collects rainwater while helping to reduce excess stormwater runoff and the urban
heat island effect. The spaces are made more pleasant thanks to ceiling-mounted
radiant heating and cooling panels and extensive daylighting. About 75% of the
building is lit in this way, which is made possible by a huge central atrium capable
of transmitting sunlight to internal spaces (Morphosis, 2009, p. 40).
Massing
The atrium is also the projects main circulation element. A 20-foot-wide grand
staircase carries occupants up as far as the fourth floor. Above that, the atrium
remains open, wrapped by a lattice-like structure. Morphosis applied a skip-stop
circulation scheme consisting of certain landings that do not provide access to the
corresponding floor; the scheme is applied to the main elevators as well. This move
is said to increase physical activity and interaction opportunities for occupants.
The atrium is described as a vertical piazza which, by promoting impromptu
meetings, fulfills the clients charge to foster interdisciplinary dialogue and
collaboration (Morphosis, 2010, p. 96).
If the Salk Institute can be characterized by its artfulness and the Svalbard
Research Centre by its durability, one must say that 41 Cooper Square exemplifies
sustainability. Thom Mayne and Morphosis have seemingly applied the tenets of
sustainability to everything from technical details (i.e., the green roof and doubleskin envelope) to the buildings treatment of the ground condition, which is
symbolically open and transparent to the surrounding city. Particularly curious is
the skip-stop circulation plan, which might be seen as a comment on the recent
social concern of sedentary lifestyles. The buildings list of sustainable features
reads something like a design checklist of recommended strategies.
This project has a radically different setting than those of the other case studies.
The settings near La Jolla and Longyearbyen offered something resembling
architectural blank canvases while this project was faced with responding to a
character-rich block in Manhattan. The other architects, especially Kahn, seemed
happy to allow their architecture to manifest outwardly on such sites. Given the
urban setting, Maynes design becomes inwardly focused. The final product takes
on a decidedly urban size and proportion.
Geometry
Hierarchy
Daylighting
Plan to Elevation
Structure
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CASE STUDY
SUMMARY
The case studies included here represent outstanding work in the

research and laboratory typology. The kinds of research conducted
at these facilities are very diverse. The Salk Institute (biomedical
research), Svalbard Research Centre (arctic research), and 41 Cooper
Square (theoretical/academic research) each possess important
elements worth studying, comparing, and contrasting.
Each of the projects emphasizes collaboration in a starkly different
way. At Salk, this is seen to be thoughtful and spontaneous as
evidenced by the blackboards placed around the central courtyard.
At Svalbard, each of the four disciplines share common rooms in the
heart of the building. The Svalbard design is very symbolic in that
sense with its radial layout. 41 Cooper Square also uses common
central space to enhance collaboration, but the method is indirect.
Thom Mayne developed an elaborate circulation system complete
with skip-stop landings and sky bridges so as to increase chance
encounters. How interesting that three designs address the same issue
(fostering of collaboration) in thoroughly different ways: thoughtfully,
symbolically, and indirectly.
Some climatic responses of each project are worth pointing out. The
Salks concrete design is well-suited to Southern California by being
massive enough to absorb much of the suns energy and airy enough
to allow for ventilation. The team being the Svalbard Research
Centre found it necessary to conduct extensive performance-based
tests before the design was finalized. 41 Cooper Squares setting in
the middle of Manhattan contrasts with the more remote locations
of the other projects. The building also uses the very latest cladding
technology to reduce its overall energy use.
The Salk Institute is surely one of the finest pieces of architecture in the
country. As if to complement the austere volumes of Kahns design,
the administrative structure and philosophy of the institute is iconic
in its own way. While the other case studies are university buildings,
the Salk Institute remains technically unaffiliated (although there is
a close relationship with graduate students from the University of
California San Diego). The institute relies mostly on research grants
and donations in order to operate.
The facility, when first built, was a place purely for research, which
also unlike the other case studies. Interestingly, Kahn imagined the
Salk having three main component buildings, only one of which was
realized. His scheme for a living place and a meeting place highlight
some of the possibilities for expanding the program of a similar
facility beyond what is immediately needed. Salk claimed that these
elements were ultimately omitted due to a disagreement over the
premise, but Steele (1993) clearly believes that this was a guise for a
lack of funds (p.17).
the premise that sound is an often underused designers tool. The

aforementioned quote from Shepherd (2002), soundless, open space
focused on infinity (p. 44), implies something important about
sound perception: Sound lends a space a measure of reality. No built
space is truly soundless; the prospect of a space without sound is offputting to the average person and would be considered uncomfortable
or even suspect. Such is the case with visitors to anechoic chambers
(Blesser & Salter, 2007, p. 19).
The overall artfulness of the project owes a great deal to the vision and
philosophy of Jonas Salk. Salk was a humanist in addition to being
an accomplished scientist. He believed that scientists and artists have
more in common than they give themselves credit. Therefore, the
knowledge acquired through research served to benefit the whole of
humanity.
Nowhere in the published material for these documents is any
consideration given to sound. Only a single, non-literal description
about the Salk Institute even mentions it, apparently supporting
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HISTORICAL
CONTEXT
Though the modern acoustical laboratory can only trace its lineage
less than a hundred years, examples of acoustically-aware design can
be found throughout much earlier history. The earliest relevant to
architectural design comes from the Roman Vitruvious, who outlined
the installation of resonant vessels in ampitheatres (Charles M. Salter
Associates, 1998, p. 16).
As a modern science, the field of architectural acoustics and the
acoustical laboratory can trace their histories through the work of
Wallace Clement Sabine. Sabine was a young instructor at Harvard
University when he was commissioned to find a solution to the
dismal acoustical situation in the schools Fogg Art Museum lecture
hall. He and a group of assistants performed tests in the space nightly
until they were able to describe the issue in terms of reverberation
time. Sabine was then hired by architect Charles McKim to assist
in the design of the proposed Boston Symphony Hall. The initial
response to the spaces acoustics from visiting orchestras was cold,
probably owing to the fact that the hall was much larger than any of
its contemporaries. Today, Bostons Symphony Hall is regarded for
having one of the worlds finest acoustical spaces (Charles M. Salter
Associates, 1998, p. 21).

Sabine was denied tenure by Harvard, so he moved to Illinois to open
the Riverbank Acoustical Labs, the worlds first such lab, in 1918.
The facility was dedicated to full-scale measurement of the sound
absorption of materials and sound transmission and led to the first
ever patents on acoustical tile (Charles M. Salter Associates, 1998, p.
24). In the 1930s, Riverbank became the official test site of the newly
established Acoustical Materials Association. The Johns-Manville
Company created the first reverberation room in order to test their
newly developed sound-absorbing materials. Researchers at New
Jerseys Bell Laboratories began making significant contributions to
the field of architectural acoustics in the 1960s by examining theatre
and recording studio acoustics (Charles M. Salter Associates, 1998,
p. 24). Commercial and industrial testing continues to take place in
similarly equiped facilities.
Study in the field of auditory spatial awareness has since emerged
and requires somewhat different spaces, although they share certain
qualities such as isolation. Study in this area and the requisite
types of spaces can divided into three main realms: pschophysics,

brain imaging, and animal physiology. It is typical that study in
any of these subfields take place in its own dedicated facility, i.e.,
pyschophysics research at a psychophysics laboratory, brain imaging
at a capable imaging facility (often hospitals after patient hours),
and animal physiology at highly specialized and secure facilities. The
work done in any one of these subfields often proves insightful in
another subfield. However, direct collaboration between specialists
is hindered because the relevant research is conducted at distant,
disparate locations (D. Ruggles, personal communication, January
27, 2012). This project aims to simulateously accomodate research in
two of the aforementionaed subfields, psychophysics and imaging, at
a single location, thus enabling greater collaboration.
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GOALS
Typically speaking, academic projects begin as assignments with

topic, typology, and site information being furnished by a professor. It is then the task of the student to produce a design that solves
the assignments unique problems. This thesis shares many of those
characteristics but is distinct in that the framework information has
been determined by individual students. For this reason, this design
for an Acoustical Research Laboratory has significance on academic,
personal, and professional levels.
This thesis has its roots in an academic setting and, at its core, is intended to be a rigorous learning experience. There is always so much
to learn about any given topic; this thesis is an opportunity to focus
on any number of relevant subjects. The most interesting topics I expect to cover are spatial perception and sensory input as well as spatial
psychology and anthropology.
In the same vein, the final document will be submitted as a degree
requirement for a Masters of Architecture from North Dakota State

University. As such, I hope that this thesis will properly showcase the
skills I have developed over the last five years of study. Some of these
skills are technical such as drafting, visualization, physical and digital
modeling, and knowledge of structural and environmental control
systems. But architecture school also hones several intangible skill
sets, namely communication (graphic, written, and verbal) and complex problem solving. I hope that this project will be capable of properly highlighting all of these skills in one way or another.
The possibility of future employment is another reason why I hope
this thesis serves to showcase my acquired skills. However, seeing as
this thesis serves to cap an academic career, it follows that it would
also serve as a stepping stone to a professional career. Acoustical design is not necessarily a field I have had my heart set on, but it is a
field to which I feel uniquely qualified to contribute. I am both an
experienced performer and patron of music and a student of architec-
turesomething I expect is rather uncommon. Im hopeful that this

thesis will act as a springboard for future work that is significant and
personally gratifying.
Because the topic of this thesis was self-determined, it has a great deal
of personal significance. The narrative focused on how I came to see
worth in the element of sound. However, sound is far from being
the only thing I find valuable. I hope that my efforts to paint sound
as underappreciated and an underutilized tool have not minimized
the importance I see in other architectural elements. A major goal of
mine is for this projects soundscape to be as satisfying and rich as its
treatment of light, texture, structure, and proportion.
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SITE ANALYSIS
My strongest sensory impression from the site was not visual or aural; it was the cold temperature. The two days I spent in Rochester
followed a minor winter storm which covered everything in a thin
film of ice and caused temperatures to plummet and skies to remain
overcast. The first morning (November 20) was especially frigid and
I had to limit my exposure while documenting the site. Fortunately,
there was little-to-no wind, but I still found this aspect of the visit to
be very unpleasant.
Obviously, the site was not to blame. The cold air and icy sheen were
certainly not the products of any microclimatic effects (if anything,
the presence of the waterways may have warmed the air slightly), but
were rather a simple bit of bad luck when scheduling the site visit.
After all, Minnesotas Novembers are not known to be balmy.
Visually, the site was entirely uninteresting when viewed from street
level. Seen from Fourth Street (the lots southern border and primary
approach), the site appeared much like all the other barren parking
lots on the outskirts of downtown. To make matters worse, I realized
that the location suffered from bad neighbors: the county garage
turned out to be a rather drab, concrete box; the Ironwood Square

office building was actually built atop concrete pylons to allow for additional parking underneath; and the water cistern was an enigmatic
rectangle awkwardly protruding several feet out of the ground.
However, the visual situation was far more encouraging from other
parts of the site. Near the waterfront, for instance, a small patch of
grass and stand of trees seemed to reorient the eye toward the nearby
parks and away from the expanse of concrete and asphalt. This same
spot featured perfect views of Rochesters skyline, the Art Center, the
Civic Center, Mayo Park, a footbridge, and a playground. The converse situation also proved true as all of these locations presented brilliant, unobstructed views of the site.
I made a point to document the sites sound features. This, too, was
pleasantly surprising due to the diversity of sounds encountered. Being near downtown offered a certain set of characteristic sounds while
the proximity to the parks offered a different set. Making an entry
every hour, I documented sounds from trucks, cars, car stereos, car
horns, train horns, children, joggers, birds, geese, HVAC systems, gas
station card readers, a cleaning crew, and a helicopter. I found that

development to be very encouraging since it was a quality few other
locations could offer in the same way.
The most dominant feature of the sites soundscape was Fourth Street,
particularly the bridge over Bear Creek. The way in which the concrete surface of the bridge deck was cut considerably amplified the
sound of vehicle tires as they crossed. I measured the sound level near
the bridge and found it to peak well above 75 dBA. Since the vehicle
traffic was so loud, I attempted to map the sound levels across the
parking lot surface. I marked nearly 300 evenly-spaced grid points
and then recorded the average sound level at each (dBA, 2 sec avg).
Finally, the exercise highlighted an important point regarding spatial

perception. I suggested above that simply by moving into a new viewshed, my spatial perception was reoriented away from the parking
lot. In truth, I believe that this phenomenon was influenced much
more by aural perception than visual. The presence of such a dominant sound source acted as a kind of datum to organize surroundings.
As I approached the waterfront, I began to move beyond the bridges
acoustic horizon and into a new acoustic region.
The exercise was anything but scientific. It mostly served to illustrate

the highly conditional nature of vehicle sound near the site. Sometimes there were more passing vehicles than other times, sometimes
no vehicles at all. Some vehicles and tires sounded very differently
than others. It also demonstrated how well the sound propagated over
the hard, flat, asphalt surface.
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10
11
14 15
6
2
1
16
13
3
12
Site Views and Photogrid
4
5
photo: City of Rochester
10
11
12
13
14
15
16
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VIEWS:
The presence of the river allows for some excellent views to and from
the site. The course of the Zumbro meanders somewhat, but it is oriented northwest-southeast near the site. This affords an excellent view
of the downtown Rochester skyline, also to the northwest, as well as
the Civic Center. There are equally excellent views looking toward the
site from the opposite banks of the Zumbro River and Bear Creek.
The footbridge, which connects Mayo Park and the park to the east,
might have the best view if not for its tall truss design.
BUILT FEATURES:
The Government Center, being a very large building connected by
skyway, marks the southeastern-most extent of the main downtown
district. The neighborhood south of the Zumbro River and Bear
Creek is significantly less dense than the rest of downtown.
The project site contains a series of interconnected parking lots. A
small wellhouse and water cistern occupy the center of the lot nearest the river. The buildable site is also bounded by a concrete garage
for county-owned vehicles. A small office building is located in the
northwest corner of the site; the Fourth Street Bridge is found at the
opposite corner.
LIGHT QUALITY:
The sky was overcast during both days of the site visit, which resulted
in an even, cool, white light throughout the sky. The site has excellent sun exposure as there are no buildings of significant height to the
south. The only limiting factor for exposure is the line of seven trees
flanking Fourth Street that stand approximately 20-25 feet tall. The
site is otherwise free of trees except for a grouping of four on the lots
north side.
VEGETATION:
As a parking lot, the site is practically void of vegetation. There are,
however, trees and grass turf around the sites periphery. The berm
along Fourth Street features turf beneath the boulevard trees. The
same is true beneath the cherry trees that screen the water cistern.
There are four trees on the sites north side, one of which acts as a
parking island with a tiny patch of turf beneath it. The other three
grow from a larger section of turf where three tables have been placed,
forming a small picnic area. One of these trees stands approximately
60 feet tall, significantly higher than any of the others, and utterly
commands the point at which the waterways converge.
Taller wetland grasses grow near the waterways. However, the banks
have been riprapped extensively so the grasses only grow at the very
edge of the water. Other visible parts of the riverbank have been
turned into concrete retaining walls and do not support vegetation.
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WATER:
The site derives much of its character from the presence of the Zumbro River and its tributary, Bear Creek. The water is present yearround although it is shallow and prone to seasonal variation.
Workers were dredging the river bottom during the time of the site
visit. Since the Zumbro is only several feet deep, the crew used a bulldozer to scour silt from the riverbed and move it to the bank where an
excavator loaded it into trucks for transport. The process created two
large, presumably temporary mounds on the riverbank not present in
the aerial photographs. Work crews deployed a sediment catchment
system slightly downstream from this work. Two large, sail-like devises were lashed to the footbridge to prevent the disturbed silt from
traveling further downstream.
WIND:
The site is predominantly flat, but the topography is steeper near the
riverbank and surrounding the water cistern. The steep slope near the
cistern and the adjacent stand of shorter, denser trees are the only site
features that might offer any real protection from the wind.
The prevailing wind direction varies with the season, but breezes tend
to come from the south during the summer. The site is essentially flat and wide open to the south and offers very little in terms of
landforms or built features that might impede the wind. The seven
thinly-spaced, deciduous trees along Fourth Street are the only possible candidates.
In terms of wind protection, the river may betray the site. The prevailing wind shifts to the northwest during the winter months, which
is exactly in-line with the course of the Zumbro. The site is largely
unshielded from this direction except for the stand of shorter, denser
trees mentioned above. Accelerated winter winds should be expected
as the riverbed offers no obstructions.
HUMAN CHARACTERISTICS:
The site is a showcase of human interventions, but not necessarily for
the better. The vast majority of the lot has been paved with asphalt
to accommodate automobile parking. The remaining vegetation has
been replaced with grass turf that must be mowed. The banks of the
waterways have been riprapped or converted to retaining walls to inhibit erosion. The parks to the east and north are pleasant but equally
tamed.
It is rare that people transverse the site except to park their vehicles.
Most human interaction with the site occurs via automobiles on
Fourth Street. Pedestrians and bicyclists have access to the site thanks
to the recreational trail which parallels the riverbank. During the site
visit, several pedestrians used the Fourth Street sidewalk while on errands from the residential neighborhood to the east. The picnic tables
on the site seem to suggest that the area is utilized by patrons of the
farmers market.
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DISTRESS:
There were few visible clues to suggest distress at the site. The majority of trees were deciduous and without their leaves, making a simple
visual assessment difficult. There was, however, a blemish on one side
of the sites largest tree, indicative of storm/wind damage.
The eastern section of the parking lot was surfaced with relatively
new asphalt. This could be the result of any number of benign factors
(recent expansion, old age, construction work, etc.) or possibly from
riverbank settlement. However, given the presence of the riprap and
the proximity of the newly renovated Fourth Street Bridge, it seems
unlikely.
The dredging operation that occurred during my visit remains a bit
mysterious, but I believe it was related to the shape of the rivers
course. The waterways of Olmsted County carry a great deal of silt
which tends to be deposited on the inside bank of a bend. This simultaneously exerts greater pressure on the opposite bank, which is
eroded to form a meander. By dredging silt from the inside edge of
the bend, the workers can reduce erosional pressure on the opposite
bank. Considering the number of bridges in Rochester (more specifically, the erosion-susceptible bridgeheads), this would be an important act of preventative maintenance.
The report warns that the seasonal high water table is often within 12
inches of the surface, making the soil a poor candidate for building
site development. However, the soil survey found the exact same soil
conditions on the rivers opposite bank, where the Rochester Civic
Center complex now stands.
UTILITIES:
The site is home to a small wellhouse and water cistern. The water
helps to feed Rochesters municipal water supply.
SOILS:
The soil at the site is classified by the US Department of Agriculture
(1980) as Kalmerville silt loam, which is characterized as level and
poorly drained (p. 42). Generally, this soil has about 43 inches of
very dark grey silt loam near the surface followed by dark grey
sand to a depth of at least 60 inches (p. 42). Kalmerville silt loam is a
good source of construction sand but is unsuitable for crops and pasture. Kalmerville silt loam offers good support to wetland plants but
is only rated as fair for trees of either hardwood or softwood variety.
VEHICULAR TRAFFIC:
Automobile traffic is significant on the surrounding streets (Fourth
Street and Third Avenue). This is due, in part, to the bottlenecking
of traffic that occurs at bridges. That is to say, when an obstruction
is present, traffic from a larger region must be funneled onto a main
thoroughfare where a bridge can be built economically.
Such is the case with Fourth Street, which spans both the Zumbro
River and Bear Creek in an east-west direction. It features four lanes
and is classified as an arterial road. The same is true of Third Avenue,
which crosses the Zumbro in the north-south direction. This, too, is
a four-lane arterial road, but it does not boast quite the same volume
of traffic.
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PEDESTRIAN TRAFFIC:
Pedestrian traffic near the site was very light for the duration of the
site visit although this may have been the result of unpleasantly cold
temperatures. The vast majority of observed pedestrian traffic utilized
the sidewalk along Fourth Street, especially near the bridge. The recreational trails on the opposite banks were used by a number of bicylists and joggers, particularly in the early morning and late afternoon.
The trail that crosses the site was closed due to the dredging operation
and was not used during the site visit.
During the workweek, Government Center employees who park at
the site make their way to the crosswalk at the intersection of Fourth
Street and Third Avenue. This is the only crosswalk near the site. The
recreational trails continue underneath the nearby bridges, thereby
offering pedestrians an alternative for crossing the thoroughfares.
TOPOGRAPHIC SURVEY:
The site is predominantly flat with grades ranging between 1% and
4%, but there are more significant slopes near the water cistern and
riverbanks. Rainwater is directed toward storm drains, which are
evenly spaced over the parking lot surface. The site does possess a
minor overall slope toward the river, but due to the arrangement of
storm sewers, only water that falls beyond the parking lots extent will
drain toward the river.
The sites most untamed element was the scores of visiting geese, presumably in the process of migrating to winter grounds. The birds
flocked in the open, grassy areas of the park to the east and made use
of the wide-open river as a landing strip. There was no animal activity
other than avian observed at the site.
SITE CHARACTER:
The natural components of the site are very much regulated. The
flow of the Zumbro and its tributary are very carefully controlled as
evidenced by the dredging operation underway during the site visit.
Additionally, the riverbanks have been bolstered by riprap and concrete retaining walls in order to limit erosion and protect infrastructure. Virtually all of the sites native vegetation has been replaced with
grass turf for a recreation surface. A very thin line of tall wetland
grasses still exists at the very edge of the riverbank.
In addition to the seasonal farmers market, Fourth Street is home to a

number of small businesses including a fueling station, a liquor store,
and a sandwich shop. The buildings are smaller and aging; it is quite
clear that this portion of town has seen less investment from business. The core of downtown enjoys the economic benefits of having
a large number of office and healthcare workers present during the
day. It would seem that those benefits do not extend as far as the site,
despite the presence of the Government Center and its employees
on the adjacent block. This would seem to highlight the significance
of Rochesters extensive skyway/subway network. The Government
Center is connected to the skyway, but it represents one of the outermost buildings in the network.
program document
| 71
Zumbro River
Ironwood Square
Office Building
Wellhouse
Bear Creek
Third Avenue
Cistern
Olmsted
County
Garage
Fourth Street
Property Lots, Street Right-of-Ways
Parking Lot Area
data: City of Rochester
Site Vegetation
Erosioan Control
Topography
<1%
27.062%
7.910%
22.099%
A
1.667%
1.972%
4.784%
22.607%
B
1.977%
5.199%
<1%
31.526%
C
3.855%
<1%
<1%
D
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| 73
TEMPERATURE
Temperature
Thirty Year Averages of Daily High/Low, Derived Trendlines

11/22/81 through 11/21/11
Average High Trend (30yr)

Average Low Trend (30yr)
Average Daily High/Low (30yr)
Average Mean Trend (30yr)
data: (National Climatic Data Center, 2011)
Recent Temperature
Daily High/Low against Thirty Year Trendlines

11/22/10 through 11/21/11
Daily High
Daily Low
High/Low Trend (30yr)
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| 75
HUMIDITY
Relative Humidity
Thirty Year Averages of Daily High/Low, Derived Trendlines

11/22/81 through 11/21/11
Average High Trend (30yr)

Average Low Trend (30yr)
Average Daily High/Low (30yr)
Average Mean Trend (30yr)
Recent Relative Humidity
Daily High/Low against Thirty Year Trendlines

11/22/10 through 11/21/11
Daily High
Daily Low
High/Low Trend (30yr)
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| 77
PRECIPITATION
Precipitation
Recent Daily Accumulation against Thirty Year Average Derived Trendline

11/22/10 through 11/21/11, 11/22/81 through 11/21/11
Average Precipitation (30yr)

Recent Daily Precipitation
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| 79
CLOUD COVER
Cloud Cover
Recent Daily Cloud Cover against Thirty Year Average Derived Trendline
11/22/10 through 11/21/11, 11/22/81 through 11/21/11
Average Cloud Cover (30yr)

Recent Daily Cloud Cover
Cloud Cover Frequency
Recent Cloud Cover Frequency against Thirty Year Average

11/22/10 through 11/21/11, 11/22/81 through 11/21/11
CLE
<O
VE
RC
AS
AR >
Recent Cloud Cover

Average Cloud Cover (30yr)
program document
| 81
WIND
345
NOR T H
hrs
50 km/ h
256+
330
230
204
40 km/ h
179
153
128
30 km/ h
102
76
51
20 km/ h
<25
10 km/ h
1 35
21 0
1 50
1 95
Wind Rose
SOU T H
1 65
generated by: Weather Tool, data: US Department of Energy (2011)
hrs
50 km/ h
50 km/ h
63+
85
50
40 km/ h
40 km/ h
44
57
31
30 km/ h
25
47
38
18
28
12
20 km/ h
76
66
37
30 km/ h
hrs
95+
56
20 km/ h
<6
19
<9
10 km/ h
10 km/ h
21 0
1 95
Spring: March - May
generated by: Weather Tool, data: US Department of Energy
Summer: June - August
hrs
50 km/ h
50 km/ h
80+
71
71
64
40 km/ h
40 km/ h
55
48
40
30 km/ h
32
40
32
24
24
16
20 km/ h
64
55
48
30 km/ h
hrs
80+
20 km/ h
<8
16
<8
10 km/ h
10 km/ h
1 50
SOU T H
Fall: September - November
Winter: December - February
program document
| 83
SUN PATH,
SHADING
N
345
15
330
30
10
315
45
20
30
1st Jul
60
300
1st Jun
40
1st Aug
50
1st May
285
60
75
70
1st Sep
80
1st Apr
270
90
1st Oct
1st Mar
255
105
1st Nov
1st Feb
1st Dec
120
240
1st Jan
16
8
15
14
13
12
10
11
225
135
210
150
195
180
165
June 21, 8am
June 21, 12pm
June 21, 4pm
December 21, 8am
December 21, 12pm
December 21, 4pm
program document
| 85
SOUND
76
46
Observed Sound Pressure Level (dBA), November 21, 2011
Frequency of Observed Sound Sources, Hourly, 7am-5pm,November 21, 2011
AIR MOVEMENT
21
19
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| 87
PROGRAMMATIC
REQUIREMENTS
Psychophysics Laboratory....................................................2,500 sq. ft.

Headphone Booths (12 @ 85 sq. ft.)........................1,020 sq. ft.
Anechoic Chamber.....................................................500 sq. ft.
Synthetic Sound Field Room......................................500 sq. ft.
Storage........................................................................150 sq. ft.
Toilets.........................................................................320 sq. ft.
Researcher offices.............................................................29,000 sq. ft.

Team Workspaces (16 @ 1,600 sq. ft.).....................26,000 sq. ft.
Seminar Rooms (4 @ 220 sq. ft.)..................................880 sq. ft.
Mechanical/Storage Rooms (4 @ 220 sq. ft.)................880 sq. ft.
Toilets (4 @ 270 sq. ft.).............................................1,080 sq. ft.
Imaging Laboratory...........................................................2,500 sq. ft.

Imaging Suites (2 @ 500 sq. ft.)...............................1,000 sq. ft.
EEG Booths (4 @ 260 sq. ft.)..................................1,040 sq. ft.
Storage........................................................................150 sq. ft.
Toilets.........................................................................320 sq. ft.
Administration.................................................................7,000 sq. ft.

Workspaces..............................................................4,400 sq. ft.
Conference Rooms (1 @ 580, 2 @ 320 sq. ft.)...........1,220 sq. ft.
Toilets (1 @ 580, 2 @ 320 sq. ft.)..............................1,220 sq. ft.
Library.............................................................................7,000 sq. ft.

Stacks, Study............................................................6,400 sq. ft.
Seminar Room............................................................220 sq. ft.
Mechanical/Storage Rooms.........................................220 sq. ft.
Toilets.........................................................................270 sq. ft.
Support..........................................................................27,000 sq. ft.

Machine Shop..........................................................5,500 sq. ft.
Information Technology...........................................2,750 sq. ft.
Mechanical...............................................................5,500 sq. ft.
Storage.....................................................................2,750 sq. ft.
Circulation.............................................................10,400 sq. ft.
TOTAL
75,000 sq. ft.
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| 89
Entrance and Lobby

Reception
Administrative Offices
Acoustic Laboratory
Workshop
Faculty Offices (24)
Conference Room
Toilets - Public
Toilets - Laboratory
Toilets - Faculty Offices
Circulation
Storage - Administration
Storage - Laboratory
Storage - Workshop
Mech. Room - Administration
Mech. Room - Laboratory
Mech. Room - Workshop
Mech. Room - Faculty Offices
Parking - 25 cars (+110 offset)
Farmers Market
Farmers Market
Parking - 25 cars (+110 offset)
Storage - Workshop
Circulation
Toilets - Public
Conference Room
Faculty Offices (12)
Workshop
Acoustic Laboratory
Reception
Entrance and Lobby
INTERACTION
MATRIX, NET
strong interaction
interaction
Interaction Matrix on February 15, 2012
Entrance and Lobby
Faculty Offices
Acoustic Laboratory
Reception
Parking
Conference Room
Workshop
Farmers Market
Toilets - Public
Storage - Workshop

Interaction Net on February 15, 2012
program document
| 91
DESIGN
DOCUMENTMENTATION
The complete archive of process material may be

found at andrewbudke.wordpress.com.
Wk 1
Wk 2
Wk 3
Wk 4
design documentation
| 95
Wk 5
Wk 6
Wk 7
| 97
Wk 8
Wk 9
Wk 10
Wk 11
| 99
Wk 12
| 101
Soundscape
Andrew Budke
ARCH 772
Spring 2012
Crutchfield
Architecture is an increasingly visual art form. But ones perceptions

of his/her surroundings are the product of all five senses and an
important mental process known as cognitive mapping. Advances
in the field of architectural acoustics have improved overall aural
experience, but the science is rarely applied outside the realm of
performance and assembly spaces.
05 Canyons
06 Cathedral
Sound is a powerful sensory input, particularly when it comes to

awareness of ones surroundings. This phenomenon, currently studied
in laboratories the world over, is known as auditory spatial awareness.
If architects are to consider themselves shapers of space, they must
take special note of the research in this field.
This design for an acoustical research laboratory anticipates the
very sensation (auditory spatial awareness) which its occupants will
study. The laboratorys overall organization takes a cue from speech
and music, which are punctuated by events or episodes. The
intersection of major building elements provides the opportunity for
similar spatial acoustical vignettes.
As one moves through the building, the enveloping space continuously
expands and contracts (just as a sound wave is understood to be a
pattern of alternating high and low pressures). Moreover, each episode
is unique, inspired by noteworthy acoustical
01 Industry
02 Infi
finite
07 Caves
08 City
03 Waterfall
09 Sea Shore
10 Tunnels
04 Temple
The site chosen for this project offers an interesting variety of sounds.
Located on the edge of Rochester, Minnesotas downtown district,
the site is bounded by two major thoroughfares which dominate
the soundscape. The site is also bordered by the Zumbro River and
the adjacent recreational trails and parks which foster a completely
different set of characteristic sounds.
The facility is composed of two separate buildings: one containing a
library and researcher workspaces, the other the administration and
laboratories. This physical separation creates a large, nearly enclosed
central courtyard. The entire range of diverse sounds may be heard
from the courtyard but not necessarily seen, thus heightening ones
awareness of the aural surroundings.
76 dB
46 dB
| 105
15
5
12
12
12
15
15
11
15
11
15
11
15
15
15
14
10
13
4
2
15
13
3
15
6
11
6
6
13
12
15
11
13
11
12
13
11
12
13
12
16
13
13
9
12
7
11
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Administration
Anechoic Chamber
EEG booth
fMRI suite
Grant writing
Headphone booth
Information technology
Library
Mechanical
MEG suite
Researcher workspaces
Seminar room
Storage
Synthetic sound field room
W.C.
Workshop
| 107
The rhythmic expansion and contraction of aural space is most evident

between workspaces used by teams of researchers. The initial form was
generated by intersecting two squares to suggest a third, acoustically
isolated space. The progression of spaces was later wrapped along the
riverfront in order to give each isolated space its own, unique shape
and personality.
| 109
A south-facing cavity wall helps to heat and circulate air during the
winter months. During the summer months, the same wall ventilates
the interior by exhausting the heated air.
This portion of the building uses a hybrid structural system of precast
concrete and a steel space frame. The concrete attenuates outdoor
sound which further isolates the testing facilities within. The space
frame enables the large, column-free interior.
| 111
A spaces visual and aural shapes are not necessarily congruent.

Glass, for instance, is acoustically opaque but visually absent
(translucent). Sound insulation, such as is found in anechoic
chambers, is visually opaque but acoustically absent since no
information is returned to the listener. This simple fact generates
a palette of shapes which the designer may use to dramatically
enhance a space or create sensory dissonance.
| 113
Just as vision requires a light source in order to see, hearing requires

a sound source in order to hear. Such a source provides sonic
illumination, a crucial concept behind auditory spatial awareness.
Since environments are very rarely silent, they constantly transmit
spatial information to the individual regardless of whether or not
they are actively listening. That information then helps compose the
persons cognitive map. This idea was the main inspiration behind
one of the laboratorys acoustical vignettes in which cascading water
illuminates innermost surfaces.
| 115
APPENDIX
REFERENCES
Balaban, N.H. (1988). C-03 geologic atlas of olmsted county, minnesota. St. Paul: Minnesota Geological Survey.
Blesser, B., & Salter, L.R. (2007).Spaces speak, are you listening?: Experiencing aural architecture. Cambridge, Mass: MIT Press.
Charles M. Salter Associates. (1998).Acoustics: Architecture, engineering, the environment. San Francisco: William Stout Publishers.
Ching, F. (1979).Architecture: Form, space and order. New York: Van Nostrand Reinhold
County of Olmsted, Minnesota (2011). History of Olmsted County. Retrieved from http://www.co.olmsted.mn.us/yourgovernment/Pages/
HistoryofOlmstedCounty.aspx
Cowan, J. P., & Acentech [firm]. (2000).Architectural acoustics design guide. New York: McGraw-Hill.
Ellis, J. (1991). Deferring to Kahn. Architectural Review, 189(1138), 71-73.
Frederick, M. (2007). 101 things I learned in architecture school. Cambridge: MIT Press.
Hansel, J. (2010, October 20). How many work at Mayo Clinic Rochester?. Pulse on Health [Web log post]. Rochester Post-Bulletin. Retrieved from
http://postbulletin.typepad.com/pulse_on_health/2010/10/how-many-work-at-mayo-clinic-rochester.html
Holl, S., Pallasmaa, J., & Perez, G. A. (2006).Questions of perception: Phenomenology of architecture. San Francisco, CA: William Stout.
Janney, C. D., Dunlop, B., Janney, C., & Lampert-Greaux, E. (2006).Architecture of the air: The sound and light environments of Christopher Janney. New
York: Sideshow Media
Kiger, J. (2010, March 18). IBM will no longer release U.S. worker numbers. Kigers Notebook [Web log post]. Rochester Post-Bulletin. Retrieved from
http://postbulletin.typepad.com/kiger/2010/03/ibm-will-no-longer-release-us-worker-numbers.html
Laheen, M. [director], & Hayes, R. W. [producer] (1993).Spent light: Louis Kahn & the Salk Institute [Documentary film]. Berkeley, CA: University of
California Extension Center for Media and Independent Learning.
MacKeith, P. (2006). Jarmund-Vigsnaes Architects designed the Svalbard Research Centre so it glows like a faceted ship in the arctic night. Architectural
Record, 194(3), 112-119.
Morphosis: 41 Cooper Square, New York, New York, U.S.A. (2009). GA Document, (109), 38-55.
Morphosis: 41 Cooper Square, New York, New York, USA 2004-2009. (2010). A & U: Architecture & Urbanism, (5), 92-103.
National Climatic Data Center. (2011). ROCHESTER INTL AP. Global Historical Climatology Network Daily. Retrieved via wunderground.com.
RDA Development Committee & RDA Board. (2009). Urban Village Overlay Zone Design Guidelines. Rochester Downtown Alliance: Rochester, MN.
Shepherd, R. (2002).Structures of our time: 31 buildings that changed modern life. New York: McGraw-Hill.
Steele, J. (1993).Salk Institute: Louis I Kahn. London: Phaidon Press.
Svalbard Science Centre in Longyearbyen, Svalbard. (2007). Detail, 47(12), 1476-1480.
US Census Bureau. (2011). State and county quickfacts. Retrieved from http://quickfacts.census.gov/qfd/states/27/2754880.html
US Department of Agriculture. (1980). Soil survey of olmsted county, Minnesota. Washington, D.C: National Government Publication.
Zeballos, C. (2010, January 9). Tadao Ando: Garden of fine arts. [Web log post]. Retrieved from http://architecturalmoleskine.blogspot.com/2010/01/
tadao-ando-garden-of-fine-arts.html
appendix
| 119
PERSONAL
IDENTIFICATION
Andrew Budke
3025 24th Ave S
Fargo, ND 58103
701.261.1873
andrew.budke@msn.com
Native of Fargo, ND
I chose to attend North Dakota

State because I was allowed to
study in multiple fields. In turn,
my joint architectural and musical
educations led me to examine
sound as an architectural quality.
The product of those educations
and this thesis were only possible
at NDSU.
appendix
| 121

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ANDREW BUDKE

ARCHITECTURE FOR OUR AURAL SENSE

A Design Thesis Submitted to the

Case Study Summary

Theoretical Premise/Unifying Idea

Major Project Elements

Plan for Proceeding

Previous Studio Experience

vi | soundscape: architecture for our aural sense

How can architecture improve the standing of sound in the designed

Like any experience, architectural experience presumes the sensation

THEORETICAL PREMISE/UNIFYING IDEA:

I was not always keen to the thought of addressing sound and

this to be a worthy tool as much in musical composition as in

Peruvian architect: The soundscape accompanies the route and has

The second, more enduring instance occurred during a choral concert

MAJOR PROGRAM ELEMENTS:

Minnesota Counties, City of Rochester

data: Minnesota DNR

continues to be a major industry although much of the regions

Olmsted County Hydrology

data: Minnesota DNR

Olmsted County. Municipalities, Transportation

data: Minnesota DNR

St. Marys hospital, located just a half-mile from downtown Rochester,

operates a number of newer, even larger facilities within downtown

Rochester, focus region and site

Today, the Mayo Clinic employs around 32,000 people, roughly

City of Rochester including focus region

data: Minnesota DNR

Mayo Clinic (approximate extent)

RDA Vision Plan: Urban Village Study Area

photo: City of Rochester

Why this site?

This particular location within Rochester is unique for several reasons,

of sound could be said to have three major components: source,

color (Charles M. Salter Associates, 1998, p. 29).

smooth surfaces which behave much like mirrors in optics; the

Reflection means that a single sound will travel many different

enough to cause reflection, but are enough to change the speed

Diffraction occurs when sound waves bend around barriers such

sight. This view, however, betrays the true complexity of sound

received. Additionally, acoustical engineers are limited in their

Various cognitive processes are then set in motion which

32 | soundscape: architecture for our aural sense

why people might cry or enter a trance after hearing certain

are most sensitive to frequencies between 500 and 4000 Hz, a

The sensory modalities are responsible for all of ones connections

sense would come to so totally dominate the others. As we have

weight during cognitive mapping.

It is not surprising, then, that there are blind individuals who

have all inherited the same basic structures and arrangements

with functioning hearing experience space aurally (auditory

that highlights the inherent futility of a designed soundscape: It

performance, resulting in unusually long reverberation times

Let us now briefly examine the work of Christopher Janney.

sufficient loudness to overcome the background noise (p. 22).

Diffusing surfaces are similarly opaque in that they represent a

With this in mind, it is possible to anticipate the shape of an