Resonant Chamber is an Acoustically Responsive Envelope

Turning the performance hall into a dynamic environment for various types of musical events, the Resonant Chamber installation explores the acoustic possibilities of a space. It investigates ways in which it can be customized and adapted to suit almost any type of performance.

The installation is made of three cloud-like structures. The electro-acoustic prototypes in the shape of tessellated origami patterns aim to develop a soundsphere able to adjust its properties in response to changing sonic conditions. The structure alters the sound of a space during the performance by combining reflective and absorptive materials, along with sensors and output devices configured to achieve the optimal conditions for the sound occurring in the room. The rigid panel system includes distributed model loudspeakers. This technology allows sound to be produced through the face panels themselves by introducing vibrations through an electro-acoustic exciter.

Designed by rvtr, the project was developed through three streams of iterative research and development in both computational testing and full-scale prototype installation. The research was conducted in close collaboration with consultants at Arup Acoustics, who helped determine the optimal geometric and material characteristics for the installation. This collaborative effort furthers the exploration in the area of kinetic tessellated architectural systems and variable acoustic surfaces that use specific geometries.

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Cloud City – On the Roof Exhibition / Tomás Saraceno

The site-specific installation for the roof of the Metropolitan Museum of Art in New York is part of a larger body of work, experimenting in space, social relations and collectivity. The geodesic dome has been built from sixteen interconnected modules in the Museum’s Iris and B. Gerald Cantor roof garden, measuring fifty-four feet long, twenty-nine feet wide and twenty-eight feet high structure. The angular and bubbled form of the piece is comprised of glass segments cut in non-identical geometric shapes held in place by steel joints, reinforcements and steel cables.

The structure consists of a 28-foot-high aggregate of 16 interconnected 12- and 14-sided polyhedrons the size of small rooms that are made of polished steel and clear plexiglass. By being reflective or see-through, they deform and rearticulate the experience of the structure and everything around it.

Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Tomás Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project “Cloud Cities/Air Port City” is rooted in the artist’s investigation of expanding the ways in which we inhabit and experience our environment.

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