Design Development
After our project was awarded grants through the Fort Point Channel Watersheet Activation Grant and from the City of Boston ’ s Capital Improvement Fund , we needed to find expert help to develop Tidraphone from a compelling concept into an instrument that would not only be structurally-sound and safe for public use , but also acoustically-functional and realistic to build within the given budget .
Our acoustical engineer , Noah Vawter , provided essential expertise and calculations . The design was refined to ensure it would perform as expected , and would articulate a detectable variety of sounds with the changing tides . Noah taught our team the basic physics of how instruments emit sounds , and how sound operates inside of human ears and is perceived by the brain . We examined other similar public instruments that are powered by water to learn about operation and design , and discussed the subjective nature of sound and music . We were surprised to learn that each of us had very different perceptions of what constitutes a “ pleasing ” sound . We tried to make our instrument sound as pleasing as possible to a wide audience , designing Tidraphone to produce a tone , decibel level , and range acceptable for public spaces and adjacent uses . This addressed a primary concern of all community partners .
Our fabricator , Joseph Wight , provided metalworking and fabrication expertise making the instrument buildable , durable , and affordable , while still communicating its message and intent as a piece of art . Recognizing budget realities , the team considered reducing the number of pipes , how the pipes attach to the sea wall , and how one might interact with the piece . We also learned the original project site was within range of a conficting construction site , so we relocated to an area of the channel that was both clear of conflicts and could also make use of existing fencing to attach the instrument .
Our original design was less a vibraphone than a set of bells or specialized pipes made from aluminum that a person could strike directly to create sound . In terms of the acoustical and precision fabrication challenge that this design presented , we resolved that building fine-tuned aluminum bells would be too labor-intensive , maintenance-heavy , challenging , and thereby costly . Bells require being suspended in such a way that they are only touched at specific nodes within the air volume . This requirement would not work with our structural design for the pier attachment , especially given each pipe ’ s considerable weight and length . Thus , the design evolved into an instrument that operates like a true
Boston Society of Landscape Architects Fieldbook
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