Sound created form: Exploring the influence of sound on architectural form
Bibliographic record
Abstract
The Montreal Jazz Festival is one of the largest and the most important jazz festivals in the world. The festival lacks a proper central location for operations. The current project has explored the influence of sound on architectural form and the aural quality of spaces it can create, by designing a new "Maison du Festival." The original schematic design of the building called for two "amphitheatred" sections of the plan allowing for performances on the two main stages to be projected onto the building itself, essentially acting in the same way as the back of a traditional amphitheatre. The overall form of the building was mainly derived from taking various wav file recordings of the streets surrounding the proposed site and then converting those files into a three dimensional representation. This was achieved by using a software called soundplot 1.0™ to capture the wav files that were then generated into 3D form in Rhino. Several recordings of each street were taken at various times of the day both during and after the festival to obtain a visual representation of the types of sounds that were directly affecting the proposed site. Three dimensional 'strips' were then selected from the hundreds of forms generated that would most accurately match the proposed schematic formal design and provide the "amphitheatred" sections required. A uniform building envelope was created from the wav file strips. This building envelope was then analyzed using CATT Acoustics to test the acoustic properties of the buildings form. The results of CATT Acoustics as well as the information gathered from previous studies of outdoor performance spaces were used to alter that the form of the original building in order to satisfy desired acoustical parameters that were required for the musical performances. The CATT Acoustics software proved instrumental in providing the acoustical analysis information that would help accurately transform the buildings form to properly satisfy the acoustical requirements of the festival organizers.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.007 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.000 | 0.002 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".