Yee Raymond

Audio-Visual I m m e r s i v e

Raymond Yee 09009563 Major study P30600

A r c h i t e c t u r e

Audio-Visual I m m e r s i v e

A r c h i t e c t u r e

TA B L E O F C O N T E N T S

INTRODUCTION 1.

2

CYMATICS PATTERNS OF SOUND

Origins

Chlandi Sound Figures

Control of the Experiment

Sonic Forms found in Nature Water Flow

Deisgn Exercise I: Cymatics Experiment

12 14 15 19 23

2. COMPOSITION SOUND AND MUSIC Architecture of Stradivari’s Violins

Visual Aesthetics

Power of Music

The Mozart Effect Sonata Structure

Power of Sounds

Background noise as music

Uniity in Different Sounds

Undulating Glass Panes

Architecture as a translation of Music

Design Exercise II: Sonic Tuning

29 30 33 33 37 38 42 49 54

3. VISUAL ORDER Representation of an invisible enity Spiritual Energies Elemental Forces

Visualisation of sounds Coloured Hearing

Seeing with your Ears

Hearing with your Eyes

Meditative States Sensory Deprivation

Deisgn Exercise III: Sonic Harmonic Painting

Design exercise IV: Cymatics Sculptures

Design Drawings

60 64 66 69 72 73 76 80 84 88

4. CONCLUSION

112

5. BIBLIOGRAPHY

118

11

INTRODUCTION

‘The

musician draws the bow across the violin

string

and

immediately

the

inert

to create visual and emotional links, therefore,

atmosphere

should its interpretation be limited to the audial

becomes vibrant and transparent…as if sound

dimension, and could its presence be translated

from non-spatial realms shines through a window into the world of space.’

into physical form?

(Richards, 2009, p.30).

Cymatic

In

concerts musicians can appear to lose their

focus on reality, immersing themselves in the music.

This

is more than a means of escapism or

even complete concentration; it is the power of music, the sound that creates the atmosphere.

The

experiments

provide

an

opportunity

for sonic vibrations to exist as a visible entity.

‘Cymatics, vibration,

the study of wave phenomena and is

a

scientific

methodology

that

demonstrates the vibratory nature of matter and the transformational nature of sound’

(Volk,

melody flows from the instrument as an invisible

2010, p.2). It

wave that is detectable by the ear, and in turn,

to frequencies, in which the particles become

stimulates the mind. Its aural presence, along with

excited, reflecting the movement of the vibrations.

the visual expression of musicians, can seduce its

images, produced from the manifestations of what

The matter forms different patterns depending on the frequency that is applied, with captivating formations, often seducing the observer with the visualization it creates. To what extent could

(Budd, 1985).

this technique be explored to architecturally

listeners to develop a bond with music on an emotional level, inspiring the creation of virtual one interprets from what one hears

is achieved when matter is subjected

replicate the emotional connection that music

The

effect that music has on any given person

can induce?

varies depending on the sensory structures and limitations presented within one’s body.

Due

to

Music

by its very nature evokes intense emotional

this, these visual manifestations can develop an

response from human beings.

intense sensory and emotional connection in

will explore the use of cymatics as a technique

particular people. It can be so powerful that it can

to bridge the invisible nature of music with the

create trances, altering states of consciousness

spatial qualities of architecture.

dissertation

Could

one

(Rouget, 1985).

develop a new architecture that identifies with

possesses powerful properties in its ability

the user in an emotional way that embodies the

and becoming lost in the sounds

Music

This

audio qualities?

2

Cymatics Through cymatics I

we

begin

to

integrate

the

methods

into

an

architectural practice? an

exploration

of

the

origins

of

hope to conduct a critical analysis of

this study, observing those who have undertaken experiments

and

findings

they

obtained,

have

highlighting key influential figures that have each adapted and developed the study.

Key figures

Robert Hooke’s arbitrary technique of patterns, Ernst Chlandi’s archive images, the works of Dr Hans Jenny who

Musical Composition Sound,

the driving force behind the cymatics

experiments,

when

structured

forms

musical

compositions that possess immersive qualities from

include

its ability to establish an emotional identification

stimulating

with its listeners.

of

an examination of the various stages in creating

integrated a scientific layer that validated the experiment

and

Lautewasser

who

concluding generated

with

Alexander

complex

cymatics

imagery with water that resembled natural form.

Before

one can fully understand the procedures

of the experiments, it will be vital to define terminologies,

such

as

frequency,

resonances,

vibrations and waves.

The

valuable information will not only act as a

reference point for my own cymatics experiments,

It

is on this foundation that

music will be investigated.

The

deconstruction of music into two elements,

body

(instrument)

and language

(composer)

will

outline how each individual can contribute to the immersive condition.

The two components Antonio Stradivari’s violins and the powers of Wolfgang Amadeus Mozart musical compositions, as each is highly recognized in today’s society for their excellence in their contribution to music. will

draw

upon

but will also provide an understanding of the principles behind the process in which it can visualise sound.

Cymatics

3

an

violins are renowned for its ability

to create delicate sounds;

King (2004)

suggests

it is most likely due to its construction, which technique is developing as a tool to

explain other matters closely linked with sound, with

Stradivari’s

understanding

of

this

field,

could

has been thought to be associated with the golden ratio.

The

golden ratio is the

‘ideal’

proportions in accordance with nature that is

Figure 1 Sound

frequencies vibrating water to form patterns.

Figure 2 & 3.

Sound waves connecting with human emotions

4

Figure 2 Sound

5

waves connecting with human emotions

thought to promote harmonious qualities.

How

register as background noise, form the ‘musical’

has this consideration influenced the quality of

ingredients for this piece.

the sound of a musical piece, or does the power

concept of listening to the sounds that are

Cage

of its sound lies in the musical notation encoded

active in the present environment and for those

by the composer?

elements to form the composition.

encourages the

The

creation

of such composition is instead composed from

The

musical

creations

of

Mozart

have

been

recognized for its healing and positive impact on the human psyche

(Robertson, 2002). The

pieces

chance, with the ‘happenings’ of sounds uniting in the creation of a single event

In

(Labelle, 2006).

concentrating on the current moment our

are thought to attribute specific and deliberate

minds drift into a ‘focused zone’ that identifies

mathematical patterns,

with that given space at that given time.

“On

another level, the

genius of the composer is manifested in form and balance.

His

music has been revered, among

other things, for its

Expanding

beyond his profession,

Iannis Xenakis

“beautiful and symmetrical proportions” (Putz, 1995). These patterns have been closely linked to the golden ratio, to which precision of musical notes are highly considered.

What is regarded as intangible and ephemeral is in fact quantifiable and mathematical, but how

infused his musical background into architectural

and to what extent is this association valid in

1990). Is

possessing such attributes, or are there other

powers of music into physical form?

Le Corbusier Tourette (1956Expo 58. He applied

form during collaborations with on projects,

de la

1960)

at

and

Sainte-Marie Philip Pavilion

the golden ratio to dictate the positioning of glass panels on an exterior façade

(Matossian,

this a means to instil the emotional

factors that can explain the immersive qualities of his music?

These imagery

In

contrast

to

Mozart, John Cage

adopts

composers with

are

their

able

to

create

compositions.

critical analysis of each of their

virtual

Through a styles, it will

more of an uncontrolled methodology in his

be interesting to observe the method that each

piece entitled

which provides an

uses to communicate with the emotions of the

alternative technique to the conventional term

listener and how effective it is in identifying the

of musical compositions.

user with space, revealing perhaps the conditions

to the surrounding

essential to translate audio to visual?

4’33” (1952),

His emphasis of ‘listening’ sounds, which we commonly

6

Representation

of an

Invisible Entity

critical investigation of feng shui, perhaps audio transformation into visual could benefit from

Cymatics attempts to represent invisible vibrations that are present in our environment. This chapter will explore alternative methods that strive to

translation into architectural form.

convey the presence of an intangible entity,

Delving

with references to feng shui philosophy and the

provide another perspective in viewing of our

neurological condition that is synaesthesia synesthesia). in cymatics

(or

The two aspects bear similar qualities and music, but to what extent are

they alike and how can they be fused to strength the emotional identification with space?

Feng

shui

promoting

is

an

ancient

spiritual

Chinese

harmony

philosophy

with

nature,

through the awareness of the unseen ch’i energy.

Feng shui practitioners believe in the ever-flowing

into the mind of a synesthete would

surroundings, as they are believed to able to ‘see’ sound vibrations as a visual entity, a concept that is reflective of cymatics studies.

Synaesthesia (or synesthesia is a rare neurological condition. A person affected, known as a synesthete, is subjected to their usual sense responses

stimulating

another

that

is

not

commonly associated with the outcome, such as hearing sound as well as seeing it as colours.

spirit of nature and that its presence can evoke

It

emotions, depending on how one connects with

an individual

it.

stimulates an alternative dialect of responding

(Rossbach, 1983).

With

references

is frequently projected outside the mind of

(Cytowic 1989, 1993). Synaesthesia

to spaces through altered sensory perceptions, in

to

writings

from

feng

shui

particular ‘seeing’ the invisible entity of sound

Terah Collins (1999) and (1983) amongst others, I aim to

without the need of equipment, like cymatics,

obtain a diverse knowledge of the fundamental

synesthetes attempt to represent their extended

aspects of this philosophy, exploring its origins

perceptions for others to share their unique

practitioners, such as

Sarah Rossbach

and

its

design.

applications

Similar

in

Chinese

architectural

to the way in which music evokes

emotions in its rhythms, ch’i flow also embodies similar

7

with the awareness of ch’i flow to assist in its

qualities.

Through

conducting

a

to simulate the experience.

experience.

An

A

select number of

analysis of this condition will be

conducted through examining the techniques in which synesthetes adopt in their representation.

Such

examples are

Olivier Messiaen (a

composer

Figure 3 Sound

waves connecting with human emotions

8

Figure 4 the formulated patterns could potentially form internal spaces.

9

who

Carol

of sounds and methods of visually representing

artist who translates her observation

its entity, an infusion of these findings could

conveyed

Steen (an through

music)

through

paintings),

both

of

and

whom

express

through creativity.

With

reference

be applied in an attempt to translate audio to visual to create an immersive architecture.

to

this

unique

perspective,

I

hope to understand how this can impact on experiencing space, since synesthetes can identify on another level compared to the majority of society.

Perhaps

this state can be instilled into

physical form, alongside cymatics to encompass the emotions and reflect it upon its users.

Design Proposal The

research and conclusions that are acquired

from this dissertation will be implemented into a design proposal.

Sounds

will not be only be

used to generate form in cymatics; it will be projected into the internal spaces to stimulate a synesthetic and spiritual experience.

There

are

many difficulties that arise when factoring sound into the design; its temperamental behaviour can be directly influenced by the internal conditions of the space in which it is summoned.

Additional

design precedents to assist with accommodating sounds in spaces will be included for design consideration such as materiality and ideal shape.

With

an understanding of the aural qualities

10

1

C Y M A T I C S P

a t t e r n s

“Well, for me, cymatics is an almost magical tool.

It’s like a looking glass into a hidden world” – Evan Grant Sound

is

speaking about cymatics at an

invisible

entity

that

TED.

Cymatic

S

o f

o u n d

imagery are most commonly created by a

procedure that involves sprinkling a metal plate with sand and subjecting a frequency, measured in hertz, through the plate.

The

sound can be

coexists

introduced into the experiment by a range of

with our daily lives, whether we consciously

different sources, with various adaptations from

acknowledge it or not as the normal ear can

frequency

16,000

only detect sound ranging from

20,000 Hertz. Although

to

it can occasionally

speakers.

generators

to

present

day

use

of

A simple method of running a violin bow

across the edge of the plate was the initial driving

create an unpleasant atmosphere in the form of

force behind this phenomenon.

background noise, the majority of its presence

an insight into cymatic as a medium in translating

can often inspire and lift our spirits.

This invisible influences;

audio into visual form, the documentation into

imagine the power it can have if we were able to

in simulating such conditions is worth noting.

‘see’

The

force

already

possesses

powerful

the sounds in action.

In

order to gain

how practitioners have employed the techniques exploration

into

this

phenomenon

will

form the foundations for how one might begin

Cymatics studies sound and vibrations in visual form, offering a view of perceiving our world in

to create an immersive architecture, could the

a new light where sounds can be embodied as a

translating audio into visual be implemented into

physical entity. the visible patterns are generated

the design process?

by

recording

the

particle

behaviours

subjected to various frequencies.

The

driving

force

behind

cymatics

procedure

of

when

observation

Origins

that is achieved is the effect of the vibrations on the particles as they become excited by the energy.

‘This

dynamic impulse opens excites the

resting object out of its equilibrium and makes it tremble, unsettling its internal cohesiveness, its self-composure.

Thus

the impulse opens up the

material to another reality: to the sound and its creative power.’

(Lauterwasser, 2006. P.41)

Robert Hooke

was

English

an

experimental

philosopher who recorded the first encounter of the visibility of sound in

1680. He

demonstrated

this with glass plates sprinkled with flour and passed a rosined violin bow along the base of the

platform.

Frequency

was

generated

and

transmitted through the glass, providing the flour

12

13

Chlandi

Sound

Figure 5 Figures generated vibrations on sand

with

sound

kinetic energy to vibrate.

hertz

(Hz)

Frequency, measured in (Cps) is the rate

or cycles per second

depending

upon

the

pitch

of

created by the action of the bow.

the

vibration

(Lauterwasser,

of sound vibrations and is commonly identified

2006, p.7) The

from the low or high-pitched sound that we

revealed the particle’s movements from areas of

hear.

high vibrations to areas of low, settling along

Hooke noticed that flour configured itself

into an oval shape that varied in shape depending

intricate patterns from the sand

the nodal lines (static areas).

‘Lower

frequencies

The

are accompanied by extensive wave structure,

movement communicated the interaction between

while higher frequencies are much more finely

on how much pressure he applied on the bow.

the frequency and medium via the cymatic image

(Caduceus, 2006).

that the flour arranged into

The

properties of the flour allowed the cymatic

sonic imprint to remain even when the frequency was discontinued, a trace left behind by a wave displacement

that

understanding generated

an

of

was

once

present.

materiality

array

of

static

and

Hooke’s

sand the wave pattern may be clearly seen. In areas of strong oscillation the sand is flung away and comes to rest in the area of nodes. process that creates the

Chladni

(Lauterwasser, 2006, p.41)

This

is the

sound figures.’

technique

cymatic

of sound that could be archived.

structured. If the plate has been covered with fine

images

Perhaps

the

The

publication

displayed

a

in

1802

collection

‘Acoustics’,

entitled of

the

forms

and

façades of the building is one that feature similar

patterns of the sand, which he later developed

patterns to form a visual arrangement of sonic

drawings from that are known today as

expressions.

patterns

His

Chlandni Sound Figures

images

Chladni (Volk, 2002).

works demonstrated that the presence of

encourage them to shift form.

the end of the

18th

cymatic

image

resurfaced

process

sonorous

pitch could manipulate tangible substances and

Towards

investigation

or

century, the static under

the

German physicist Ernst F.F. “Father of Acoustics”. He adapted of

The

limitation

of technological equipment of his time reduced his findings to mere empirical observations, as he could not provide the frequency values to

‘Work

Chladni, the Hooke’s experiment by applying the same techniques but observed the response from sand instead, ‘he

support the formation of the images.

discovered that particular patterns occurred

sufficient range of observation since they could

on

this basis was not easy and, more particularly, the conditions of the experiment did not allow a

14

not be freely varied while the experiment was in

by documenting his findings in book,

(Jenny, 1967, p.18).

Dr. John Beaulieu’s Commentary of Cymatics (2001) comments on the engagement of our right and left-brain when observing cymatics activity, with the former excited to see the

(1967).

Jenny documented

progress.’

creation of the imagery and the latter wanting to understand how it works.

There

were no

a set of experiments that were

conducted in a similar fashion to his predecessors except he, ‘used a variety of experimental techniques,

including

stretching

rubber

membranes

over

loud speakers, and also mounting piezoelectric crystals directly to the steel plate’

(Lauterwasser,

means of understanding how the images were

2006, p.39). The

crystals were set to vibrate

able to ‘move’ when subjected to vibrations as

by

that

the frequency of the wave displacement in the

generator, causing the plate to oscillate.

was

fed

by

frequency

The

implementation in this field could be explained

a range of vibrations to be generated, enabled

not

through the adaptation by

A

current

frequency generator, a component that allows

could

measured.

the

scientific

experiments

Dr Hans Jenny,

his

alternate levels of frequency to be subjected to

implementation of modern technology allowed

the substances by causing the plate to vibrate at

for a means of control and understanding of

different frequencies, hence creating different

the methods.

patterns.

This

could become a guide in the

Introducing

scientific

applications

formation of my experiments that intend to

in his methodologies, he was able to precisely

adopt the cymatics procedure into the creation

quantify

of form for an immersive architectural design.

(volume)

the

vibrations

Control

of the

and

amplification

in arousing the particles into their

specific formations,

“thus

we can always know

the frequency (number of vibrations per second)

Experiments

and also the strength of the impulses (excursion

Jenny (1904-1972), a physician and natural scientist, provided major advances in this field

or amplitude of the vibrating body)”

of exploration in the realms of technology

and duplicate the experimental conditions of

p.21).

Most

(Jenny, 1967,

importantly he was able to record

1960s. Known

each material and its pattern, breaking away from

as the ‘father of cymatics’, he coined the term

the superficial tag and proving these aesthetically

and expansion of substances in

and brought the subject into public interest

15

Kymatics

pleasing forms can embody scientific creditability.

(Volk, 2002)

Figure 6 (top) Indicates the movement

of the

partices as they are subjected to sound.

Figure 7 (right) Jenny with his scientific

equipment

Figure 2 & 3.

Sound waves connecting with human emotions

16

Figure 8 Non-Newtonian

subject that arises when under the influence of sounds

17

One of the most interesting additions that Jenny

Jenny (1967)

introduced to the cymatics experiments is the

interaction with vibrations could be engaged via

use of a solution known as a non-Newtonian

three sensory pathways, we can hear a vibration

fluid.

as sound in the air, feel it with our bodies, and

It

‘normal

does not behave like

liquids’;

strongly believed that mankind’s

it does not change its viscosity according to

see the effects of vibration with our eyes.

temperature, rather through pressure.

the three forms of engagement, he believed that

Its

state

From

changes depending on the amount or length of

the visual interaction was the most limited.

time that stress is applied.

became an underlining force behind his intention

may appear in liquid

to visualise vibrations through cymatics imagery,

Although the solution form, when it is subjected

to

a three dimensional manner.

phenomena that is not normally seen.

‘If

the generating

sound is discontinued at this stage, everything again becomes a semi-solid paste and cools to form an evenly distributed mass. continues while cooling changes yet again.’

The now

But if vibration proceeds, the picture

(Jenny, 1967, p.144)

method in translating audio to visual has evolved from two

to

three-dimensional,

prompting that it can potentially occupy the spatial

dimension.

Though

conducting

my

own set of cymatics experiment using a non-

Newtonian

solution (cornflour mixture),

I

hope

expand

humanities’

to vibrations it temporarily begins to behave in

visual

spectrum

His

This

of

a

desire

to expand the human perception with sound through other means of sensory awareness is an experience that is very similar with synaesthesia

(chapter

three), where sensory responses become

overlapped.

Cymatics experiments creates an ‘artificial’ synesthetic experience upon its observers from its unique expression of converting audio to visual,

‘It

would be really true to say that

one can hear what one sees and see that one hears’

((Jenny, 1967, 21). Could

this environment

be replicated in the architectural spaces immersing the users in the space in such a way?

If

so how

to capture the beautiful forms and propose an

could one begin to design spaces that induce

architectural form generated from the pressure

such psychological conditions?

of sound, figure

the hypnotic shapes

premises for the design proposal of an immersive

formulated from the pressure could be embedded

architecture that will gradually be developed

in the form, replicating visually the immersive

throughout the research.

8. Perhaps

This

forms the

qualities of cymatics.

18

Sonic Jenny’s

devices.

forms found in nature works

brought

fore

It

the

fascinating

is

interesting

Lauterwasser

establishes

and beautiful cymatics studies to the forefront

the former,

of today’s society, particularly in the works

the current environment that we live in.

Alexander Lauterwasser. His

‘a

behind the scenes force’ shaped

If

we

naturalistic

consider for example the grounds beneath our

approach influenced his examination of cyamtics,

feet as the ‘plate’ in the experiment, and ourselves

driven by the role sound played in the creation

as

of the universe.

was an advocate of the

surface, over time we observe patterns that emerge

work in nature, an invisible driving force that

conditions of the current state of the surface,

of

‘Jenny

idea that cymatics described a sound-matrix at

could create everything from the wave-like shape of a mountain range to the stripes on a zebra or the petals on a flower.’ (www.cymatics.org)

the

source

of

sound

subjected

as a result of our interaction.

These

upon

the

reveal the

what we can see is an imprint of a moment that once existed.

This

is essentially what cymatics

can be described as, a moment of the current generation

Enticed by the works of Chladni and Jenny, Lauterwasser a German researcher and photographer, recognised this relationship that cymatic images had with nature, identifying that the Chladni sound figures bore a similar resemblance to a tortoise shell. ‘Most surprising

of

sounds,

whereas

the

forms

in

nature is the physical manifestation of the same procedure but over time.

Water Flow

to me, they bore a close relationship to the

In Lautewasser’s book, Wasser Klang bilder (water sound images) (2008) he discusses the works of

structures

his predecessors with the additions of his studies

found

in

nature,

especially

here with the tortoise shell’ says

(Campbell, 2008). The generated

were

patterns

geometric

and

seen

Alexander that

reflected

were the

forms that are found in nature, captivated by this discovery,

Lauterwasser

built on the works

of his predecessors by employing modern sound and recorded equipment that were custom built

19

how

an analogy that sound has with nature, how

with sound and water.

‘On

this living planet,

the element ‘water’ best portrays this oscillating dynamic between chaos and order.

It

swings

back and forth perpetually changing between its diverse states of condensation, evaporation into

the air, streaming and flowing in its liquid state,

and freezing as ice; unifying all of the different

Figure 9 (Top) The patterns generated from cymatics experiments resembles Figure 10 (Bottom) The various patterns found in water sound images.

forms found in nature

20

Figure 11 Sound

frequencies vibrating water to form rise in three-dimensional form.

20

regions of our planet in one perpetual circular flow’

(Lautewasser, 2008,

p.65).

He

enabled the formation of my experiments with

felt that

recordings of inspiring shapes that could be

the multiple states of water would be a suitable

used for the process of generating form for an

substance

immersive architecture.

behaviours,

in

visually

subjecting

capturing droplets

of

vibrational water

to

varying amplitude (volume) and frequency (pitch)

Cymatics

The

and ‘force’ that excites the particles morphing the

concept of water as a flow between chaos

events occur from the interactions

between the individual components, the

and order bears very similar traits to the notion

substance’s form.

of ch’i flow found in feng shui, an ancient

should concentrate on the interaction between

philosophy.

Although

Chinese

this is a spiritual awareness

Dr Jenny (1967)

‘plate’

stated that we

the parts of the whole, rather than the ‘whole’

it can be seen as a visual way of ordering chaos

as an end result.

as a means of living in harmony with nature.

the fundamental principles behind the occurrence

Now

that we have established

mention previously cymatics imagery resemble

of cymatics imagery, it would naturally lead

forms found in nature, could its patterns be

the investigation into the driving forces of the

As

representative of the spiritual force of nature?

Could

experiment, sound and music.

the translation from audio to visual be

infused with the spiritual considerations of feng shui in generating an immersive architecture?

This

will be discussed further in chapter three.

Conclusion The

documentation of cymatics studies offers a

foundation of understanding how the process of

rendering

sound

in

a

visual

manner

is

conducted.

Cymatics experiments provides a means for sonic vibrations to be both seen and heard, altering one’s common interaction with audio components. Most importantly the research has

21

1

C Y M A T I C S

E X P E R I M E N T S D

e s i g n

E

x e r c i s e

Translating sound into three-dimensional form

sound is discontinued at this stage, everything

‘In

continues while cooling proceeds, the picture

again becomes a semi-solid paste and cools to form an evenly distributed mass.

attempting to observe the phenomena of

vibrations, one repeatedly feel a spontaneous urge to make the processes visible and to provide ocular evidence of their nature.’

(Jenny, 1967,

p.18)

This

I

changes yet again.’

The

But

if vibration

(Jenny, 1967, p.144)

video recordings demonstrates this

procedure and can be found in the digital copy.

Figure

displays the movements capture in stills.

is an experiment that attempts to explore

a method in the translating sonic vibrations into physical form, through replicating a

Cymatics

experiment.

Cymatics

explores the

invisible sound and vibration, recording the patterns constructed from experiments to show the various modes of vibrations.

An

example of

this involves analysing the patterns of corn flour mixed with water as it is subjected to alternating frequencies.

The

solution has a particular property known

as a

Non-Newtonian

fluid because its does not

behave like ‘normal liquids’; it does not change its viscosity according to temperature, rather through pressure. Its state changes depending on the amount of stress or length of time that stress is applied.

Although

the solution

may appear as a liquid form, when it is subjected to vibrations, it temporarily begins to behave in a three dimensional manner.

‘If

the generating

23

Figure 11 A

cymatics buildings concept

My Cymatics

video stills

25

2

C O M P O S I T I O N S

o u n d

…’There is no doubt that music provides one path of temporary withdrawal from the hurly-burly of the external world.’ (Storr, 1992, p.105)

a n d

M

u s i c

powers of the sounds, it is difficult to resist reflecting the emotion of that moment in that space. It is not only the listener that is subjected to this hypnosis, the musicians too fall prey to

Sounds

are constantly around us, that when

structured can form the musical masterpieces that we aurally perceive.

Philip Ball (2011)

describes

music as a vehicle for communication, sometimes with exquisite precision such as

Morse

code.

It

can be seen as a universal language that can be shared amongst cultures or musical genres, it is a part of what we are and how we perceive the world. and

Although each group has their own style embedded meaning in their creation, when we

the power of the sounds.

‘Musicians sometimes describe feelings of being ‘taken over’ or ‘possessed’ during a performance; a type of ecstasy which may or may not be enhanced by drugs.

There

may be an experience of being so

much at one with the music that it seems to be playing itself.’

It

(Storr, 1992 p.98)

is interesting to note that both audience

listen to music it can immerse the listener into a

and

state that is influenced by the sounds.

vibrations when summoned to our presence.

‘Music hast he effect of intensifying or underlining the emotion which a particular event calls forth, by simultaneously coordinating the emotions of a group of people.’

The

(Storr, 1992. p.25)

musician

fall

under

the

spell

of

sonic

The

performer is merely a medium for the sounds of the instrument to communicate across, similar to the ‘plate’ in the cymatics experiment, and we see a visual representation from the player’s body language.

How

does music evoke such powerful

emotive sensations that it ‘possesses’ its host and

presence of music can have an impact on its

listeners in identifying with the space auditory

listeners by identifying them with space through

yet unleashing virtual images? It is therefore vital

an

emotional

connection,

the

to deconstruct music into the components that

creations of virtual images dictated by the notes.

collaborate to form this emotional connection,

We

that

is it embedded in the construction of instruments

the sounds are attempting to induce in a given

or do the composers themselves insert a hidden

moment or event.

code into the music?

become

happiness or

influenced

by

encouraging the

emotions

Whether this event evokes sadness, when suppressed under the

27

Figure 12 The “Rode” dated 1722

28

Architecture

of

Stradivari’s Violins

Stradivari’s

success began in the

1660s

where an

‘The violin, so deceptively simple, can both portray and inspire every emotion imaginable, imitating

Nicolas Amati formed the foundations for his creativity.

There were no such teaching of acoustics; instead

the braying of a donkey or delivering a tune of

all knowledge was gained through practice and

apprenticeship under the guidance of

heartrending beauty.’

There

(Faber, 2005,

xiv)

are many instruments that can convey an

equipment.

It

wasn’t until

1690

Stradivari

that

emotional connection to its audience; each has

to break away from the influence of

its own sound and power in their projection.

after

Nothing can quite Antonio Stradivari,

compare to the works of

since

his violins and cellos are

greater

having

Amati’s

remained death in

amplitude

to

faithful

1684. He the

to

decided

Amati,

tradition

began to give

bodies

and

a

highly coloured varnish.

in the right hands, deliver outstanding tones in

that one of the most debated elements of violin

concert halls.

Faber (2005),

used

renowned for their magnificence on song and

states

construction is the varnish that was used. It has a significant role in enhancing the beauty and

Stradivari in

remains one of the great mysterious

discovering

masterpieces as,

the

‘No

secrets

in

his

instrument

single violin maker has ever

excelled him in this respect, and only few have equalled him’

(Balfoort, p. 23) If we are to attempt

protection against damage.

If

the wrong vanish

was applied, it can impact on the vibrational quality of the wood, detrimental to the violin’s sound. such

Unfortunately there is no secret recipe as (Balfoot, 1979); instead there is more of a

the translation of audio into visual we must

focus on the construction of the bodies driven

first delve into various theories that many have

by

been noted to assist in possible explanations into the seductive sounds of his instruments, perhaps the construction methods of the instrumental

‘bodies’

could inform the architectural form and

materiality in the design proposal.

Stradivari’s

experimentations.

Stradivari’s violins were stronger and more solidly made than that of his masters. He continued to experiment with the body of violins, consistently changing the dimensions of the end product, before reverting back to the Amati Model with the addition of slight modifications of his own.

29

This became a favourite of his until 1703. This is a possible theory behind the success of Stradivari’s perfection, the combination of tradition and experimentation; he became familiar with the necessary methods and could refine them for the next model.

It

is still not clear how

Stradivari

experimented with the construction of violins, however there are close relations to the golden ratio, also known as golden section, that may have been implemented.

‘The

distance

AB

point

A, CD

is one-fourth

Visual Aesthetics There have been studies that the constructions of Stradivari’s stringed instruments were built on the foundations of the golden ratio. It is a principle that dates back as far as 300 b.c., that encourages the ‘ideal’ proportion of 1:1.618 between all components and also their relation to the whole. It is believed that these reflect the patterns found in nature, and perhaps in a bid to reflect this beauty, it has been imbedded in the bodies of

Stradivari’s creations. Below is an Golden ratio can be expressed

example of how the

algebraically, indicating how it could possibly be implemented into the design.

‘The GS – sometimes called the “divine proportion” – divides a line into two parts such that ratio of

30

Figure 13.

is one-third the pin length.

the

Proportioning Triangle

BC is one-half the length of the AB. The line AC is perpendicular to the side opposite AC. CE is one-third AC. CF is one-hald AC. BD is the hypotenuse of the right triangel BCD.’ (King, 1004)

side; therefore, one-half

the whole line to the longer part is the same as

the ratio of the longer part to the smaller part.

Algebraically,

AB, with a C, point C will be located at the Golden Section of the line AB if AB is to AC as AC is to CB’ (King, 2004). given a line of length

subdivision at point

King (2004) regarded the position of the f-holes as being the most exciting “secret” of Stradivari’s creations. They are located beside the waist of a violin with curved openings that allow the top of the instrument to flex as it vibrations.

His

research indicates that the position and size

of these follows a similar method to the golden ratio, figure shows his analysis to how he has come to his conclusions.

According

to

figure

A, King (2004)

states

that the golden section was used to determine the upper and lower f-holes as indicated by the circular drill holes.

These marks were obtained by

firstly drawing a vertical line from the upper bout to the bottom of the waist

(C-bout)

that splits

the body in half, this is known as the pin length.

The

base of this line form the horizontal guide

for the lower f—holes

(L). The

then be divided according to the

pin length can

GS

in order to

form the horizontal guide for the upper f-holes

(H). The GS

L, giving Drawing a

can then be applied to the

the locations for the lower f-holes.

diagonal line from this point to the intercepting point at

H,

will establish the upper f-holes.

The

use of an equilateral triangle overlaid onto the marks was also used to assist in finalising the f-holes.

The application of the golden ratio in positioning of the f-holes not only benefits the instrument’s Figure 14 N. Amati

showing placements of f-holes

31

Figure 15 The

32

power of muisc on the human mind

visual aesthetics; the openings are cut at the

identify user with space, the discussion in regards

right size to allow for optimum vibration when it

to the

is played.

into physical reality.

A

potential application into the design

‘Mozart effect’ may assist in the transition

proposal as the form could behave in a very similar manner

to

an

instrument;

the

environmental

The Mozart Effect

conditions could become the external force that exerts pressure to the form causing it to vibrate.

Panels

on the façade could resonant creating

the illusion of a shifting form, whilst consisting of openings that captures sound and allows the surfaces to vibrate.

It

will therefore create its

own sounds creaing a cymatics instrument.

Power

Instruments

are

lifeless

without

composition from composers.

The

the

musical

immersive power

of music is present in many classical pieces by composers,

however

Amadeus Mozart derived

from

the

works

of

Wolfgang

appear to stand out amongst

his contemporaries.

The ‘Mozart

psychologist’s

effect’, a term

findings

in

1993,

discovered that those who were exposed to the music of temporal

Mozart

for its mysterious qualities in stimulating the human psyche, ever since a study in researchers

had increased their spatial-

reasoning

(robertson, 2002). We

at

The research Neurobiology conducted

Music

of

The musical works of Mozart has been recognised

the team

of

university at

the

Learning

studies

to

and

of

1993 by California.

Centre for the Memory in Irvine

examine

the

power

of

Mozart’s music to students. Led by Frances H. Rauscher, Ph.D., and her colleagues, they found that the students had performed better on an IQ test after listening to the Mozart’s “Sonata for Two Pianos in D Major.” ‘Although the effect lasted only ten to fifteen minutes,

Rauscher’s

team concluded that the relationship between music and spatial reasoning was so strong that simply listening to music can make a difference.’

(Robertson, 2002) Rauscher

proposed

that

the

music

triggers

wonder what makes the quality of the music so

a mechanism in the brain that organised the

powerful and where his secrets lie?

firing

As the objective

is to create an architectural form reflective of music’s immersive qualities, in a bid to emotional

patterns

of

neurons

in

the

cerebral

cortex, especially strengthening creative rightbrain processes associated with spatial-temporal

33

reasoning.

Mozart’s

music was a prime candidate

can begin to understand why

Mozart

is

favoured over others, since his music seem to have

fact that he was composing at an early age of

the most effect, but why is it this case?

four.

Mozart’s

A

gifted child with an incredible mind, he

emotions

be

emphasised

Could

stronger

in

worked out an entire piece in his head before he

certain compositions to channel his insecurity

wrote the composition on paper, with hardly

of

any need for alterations.

or could it be that his compositions reflected

impressive

memory

in

He

which

also demonstrated he

could

listen

neglect

from

childhood

(Biancolli 1975),

his developing mind, in which he expressed and

to a masterpiece and replicate it on paper, the

encoded in music?

Allegri Miserere as an example (Strafford, 1991).

Functioning neurologically at such a high level

can be applied to his works in an attempt to

there were interest in whether this manifested in

believe then the natural place to seek answers is

his music.

how

(Robertson, BBC)

It is an interesting thought to believe that elements of his advanced mind may have been imbedded in his music that improved cognitive reasoning in others.

A study conducted in Aberdare boy’s school in Wales in 1995 by Anne Savan revealed intriguing findings of the ‘Mozart effect.’ What began as a

There

are many reasons that

explain this, but if the music is a powerful as many

From

Mozart

constructed these composition.

a young age

Mozart

took an interest in

mathematics, ‘he talked of nothing, though of

nothing nut figures’

(King, 1976, p. 1241) This is F. Putz (1995)

an interesting thought since John

states that the nature of music and mathematics has been interwoven since antiquity and how

means of introducing background noise to her

one can provide enthusiasm for the other.

pupils to improve their performance, she explains in

are beliefs that his method of composition could

There

BBC 4 radio, concluded with Mozart over others. ‘So

have featured the use of the golden ratio, with a

support of the power of

passion for numbers and patters, could the genius

the next stage in the proceedings were to try

perhaps have subconsciously employed them into

an interview with

other music and see if that had the same effect,

and what we actually found was that we didn’t get the same statically significant respond with any other composer’

34

We

for experiment because they were curious of the

(Robertson, 2002).

his pieces?

Figure 16 Sounds feeds the neurons in the brain

35

The Golden Ratio

Sonata-Form Movement

Figure 17 How Mozart’s

muisc could have implemented the golde ratio

36

Sonata Structure

Mozart

may have used the golden ratio, which

he reinforced with the production of a graph

John F. Putz (1995) published an investigation into Mozart’s musical structure of his piano sonatas

of the number of measures in the development and recapitulation against the total number of

and whether they were constructed in close

measures only.

relations to the golden ratio.

graph to represent the expositions in a similar

He

believed that

However

his music demonstrated beautiful and symmetrical

fashion.

proportion

solid evidence that

and

investigated

how

implemented into the composition.

these

In

were

order to

conduct this study, he took the sonata-form movement of

‘Mozart’s

time’ in which the piece

was divided into two parts:

‘the Exposition,

in

‘Although

sonatas,

Putz

must be made.’

powers behind

had to be repeated in the performance as a musical rule,

(Marks, 1921), Mozart

split these parts into

two components according to the number of measures in length, or time each part had in relation to the whole.

Putz

believed that it was

the method of separating the two that could be explained in accordance with the golden ratio.

Below

is table that records the

movements of the

56,

29

constructed

where the division of a

+

b

into its individual values in for each movement, are broken down proportional in relation to golden ratio.

did use the golden

knew that another comparison

It

theme is developed

Mozart

(Mike May, American Scientist)

Development

Recapitulation in which the and revisited. Since each part

those results might seem like

ratio when he divided the sections of his piano

which the musical theme is introduced, and the and

there was no additional

is therefore difficult to truly understand the

Mozart

music, and perhaps the

divisions of the sonata movement had been devised through his innovations alone, without any calculations involved.

What

one can gain from

this is the mathematical passion that

Mozart had Biancoli

that may have implemented his works, as

(1975)

states that unlike most composers where

the music is a case of content and structure,

Mozart

himself

like

a

mathematician

is

only

concerned with the latter.

Alex Smith who runs the listening centre in Sussex, explained during an interview with the BBC how Mozart might have structured his composition to create the influential sounds

His

findings

provide

possible

evidence

that

that impact the listener.

The

theory surfaced

37

from the therapy sessions where patients would

hear.

listen to specifically filtered frequencies above

conditioning could have a similar effect on

9000 hertz, he found that the remaining sounds registered at a similar level to that of Mozart’s.

His mathematician approach may have structured

those that do not suffer from this disorder, as

the compositions to resonant at high frequencies

the brain.

to stimulate the brain.

The

believe that this method of

a means to explain the cognitive development for the earlier studies that

Mozart

is beneficial for

power of the music

could possibly lie in the overall pitch of the

With

sounds.

internal spaces under these conditions may well

‘The

energy to the brain.

%

The

brain needs, or gets

of its energy from the ear.

So

80

over giving a

high frequency sound, this concentrated energy for the brain and that is helping us listen better.

The

this concept in mind, the creation of

be a means of replicating the immersive qualities of

thinking is that high frequency sounds are

charging the brain, enriching the brain, giving

whole conception being that hearing and

listening are two different things, hearing is a passive concept, listening is active.

And

we can’t

focus our listening as we focus our eyesight.

We’re prey to all the sounds, so you can’t focus your listening, you can’t focus specifically on a point and you can’t focus our extraneous sounds.’ (Robertson, 2002)

38

However I

music. It is not a case that one should implement

Mozart’s

music into the architectural spaces;

rather consider adopting the presence of high frequency sounds spatially.

Users

could undergo

procedures that temporary tune their hearing to the ideal frequencies in order to concentrate and

focus

out

unwanted

sounds,

referred to as ‘background noise’. experimental composition of

4’33”

in

1952,

John

often

Similarly the Cage entitled

encouraged one to connect with

the environment but instead by focusing on the sounds deemed as ‘noise,’ as a means to connect with space.

Smith’s findings were obtained during sessions with ADHD patients (Attention deficit hyperactive disorder), where the sounds encouraged one

Power

to focus out what one does not want to

influences,”

‘Sober

of

Sounds

the mind and make it susceptible to divine

Cage

on the purpose of music.

(Cage,

Figure 18. The

program of the premiere concert, at

August 29th 1952. Courtesy Bard College

of the John

Cage Turst

39

Figure 19. The score to 4�33’ did play, it was instead based on the

not have any notes as such to surrounding sounds that were

present in the moment.

40

1961, p.158) Unlike the traditional structured premise that Mozart’s music was built on, John Cage’s 4’33”

collection

composition was conceived with an experimental

we rely heavily on sight over any other sensory

approach.

perception

He

believed that music did not have

to be generated by

“musical”

sounds and that

of

not

only

background

noise,

but also hidden sounds that we often do not acknowledge.

It

is inherent in humanity that

(Leach, 1999). Our

society is driven

predominately by visuals to connect with space,

Cage’s

a collection of noises could also create such

but under

events.

aware of all audible rhythms of a particular

Cage’s assumption that any combination of sounds, whether they are “musical” sounds or noises, can be aesthetically pleasing; the materials available for a musical work are thus virtually unlimited, and Cage rejoiced in the existence of these infinite possibilities.’ (Berstein and Hatch, 2001, p.3) The

‘In

music, this vision informed

idea that ‘noise’ could form a music piece

offers the audience to experience a different composition objective of

each

4’33”,

time.

This

is

precisely

direction we become aurally

moment, evoking an emotive connection with the space.

The

concept of tuning one self aurally with

space forms an inspiration for the brief of an immersive architecture that can identify with users in an emotional way. Implementing a similar notion to

Cage,

into

architectural

the

his concept will be integrated spaces,

encouraging

the

users to focus and become completely tuned

to promote the concept of

with the space, by listening to the sounds of

listening to the sounds that are active in the

the chosen site through the architecture.

present environment and for those elements to

could stimulate heightened sensory perceptions

form the composition.

There

This

is no control in

where sound is not only detected by the ears but

what one can hear in the atmosphere, which makes

through all of the other senses. It is a recreation

this methodology unstructured and is instead

of a cymatic experiment on a larger scale in

composed from chance, with the ‘happenings’ of

which the users will not only hear and see the

sounds uniting in the creation of a single event

visual representation of sound in the interiors,

(Labelle, 2006).

but they too themselves will feel the vibrations through their body, assuming a role similar to

One

is immersed in a sonic trance from the

the ‘plate’ as a medium for communication.

The

41

notion of interacting with sound through all

dictated by the arrangement and placement of

means of our sensory perceptions stimulates an

objects in accordance with the nature’s spiritual

environment that is believed to be perceived by

flow.

individuals that suffer from the neurological

design of the architecture; the fusion of both

conditions of synaesthesia, this will discussed in

principles will establish a stronger identification

the next chapter.

between user and space.

This feature could be applied to the interior The

practice of feng shui

will be discussed in the next chapter.

Cage

found that the act of focusing one’s

concentration on the natural flow of sounds

Stradivari,

created a meditative exercise that enhances the

conveyed their immersive conditions within the

spiritual aspect inherent in mankind.

musical

‘The pleasure,

Mozart

realm,

Cage

and

neither

has

have

experimented

only with

peace, and spiritual abundance that he found

expanding

affirmed for him that this transformed state of

these methodologies into architectural form.

being was most desirable..

For Cage

the musical

piece was merely the agent or conduit for evoking an act of listening that advances the individual’s spiritual development’

(Berstein

and

Hatch, 2001,

p72).

Not

only

can

one

be

emotional

identification with the environment.

connected

This

aspect

of establishing such connection is embedded in

Chinese

their

field

and

instilling

is however a composer who has explored

the possibilities of bridging one into the other and can be found in the works

Iannis Xenakis,

revealing perhaps there is a means of translation into physical form.

from listening, the focus awakens one’s spiritual

the

There

beyond

philosophy of feng shui, where one

is taught to become aware of the life energies

Iannis Xenakis

‘An

important part of

Xenakis’

architectural

work, and in this case, an architect’s work

intimately combined with that of a musician.’

(Kanach, 1990, p.50)

that are presence and channel those forces in improving our well being.

With a similar intention

as cymatics, feng shui encourages an interaction with an intangible force, however this process is

42

Unity One

in different sounds

of the most important works of

Xenakis

Figure 20 Glisslandi

from

Metastasis

became a design tool for the

Philips Pavilion.

43

The

44

Figure 21 Sainte Marie

musical fascade of

de

La Tourette

that

informed

his

project’s

later

exploration

of music and architectural design is

(1953-4),

Metastasis

“transformations.” The piece was influenced by Xenakis’s recollection of the various sounds during the war in Greece in 1940s, when he was surrounded by a sonic mass of events, which over time would transform and merged as a whole. meaning

‘Like the disruption of order in the demonstration in

Athens, Metastasis

consists of a large mass

of sound splintering into multiple movements: glissandi sweep from a central focus and out into individual trajectories. sound scatters.

Scored

Like

an explosion,

got an orchestra of

sixty-one instruments, the composition establishes a textual field that remains unstable, unfixed, moved by various speeds and pitches, according to a highly rarefied precision.’

It

(LaBelle, 2006, p.184)

of numbers that are calculated by the addition of the two former digits, in establishing the durational movement and division of the sixtyfive separate parts that form the piece.

The

ratio

of adjacent numbers in the sequence progressively approaches golden section proportions of

(Elam, 2001) It

1:1.618.

was a means of composing time

with the modulor method based on a standard of measure in determining the proportions of each part, unlike the conventional method where order of each succession is usually the focus.

The

principle

behind

in a similar way to

Metastaseis 4’33”, where

is

composed

sonic events

consisting varying sounds or noise can form the composition.

What

is interesting to note is

the importance that this had in assisting

Xenakis

in applying music into architecture, could this delineate a method to interpret audio to visual in the creation of an immersive architecture?

was composed for an instrumental orchestra

arrangement, based on the creation of fields of glissandi, a glide from one pitch to another, presenting for the first time a flow of sound transformations.

It

introduced a large number

of individual sounds from each musician at the start that would gradually converge to form a unified sounding composition at the end. was achieved by using the

Fibonacci

This

series, a set

Undulating Glass Panes The

concept

formula

to

of

applying

Xenakis’s

this

mathematical

composition

was

first

Le Corbusier in 1947. He became aware of Corbrusier’s Modulor, developed from the golden ratio, as a guide to form the ‘ideal’ human scale that could be introduced whilst working with

45

universally applied to all dimensions of a building,

external is composed of interplay of continuous

from window placements to heights of doors

variations of densities both horizontally and

(Corbusier, 2004). Intrigued

notion

vertically; the former with the frames while the

and having implemented it into his composition,

latter conjures a harmonic counterpoint of

whilst

de

this

Corbusier on the La Tourette (1954-57), Xenakis

collaborating

Sainte Marie

by

with

variable densities.

The

facade resembles the scores

of a musical piece, one that nature plays, creating

applied this formula with a musical perspective to

a rhythmic forces with its light that can be

create the glass façades.

observed in the interiors.

Logical

and beautiful,

the architecture was given a sense of rhythm as

Xenakis, ‘Had

solved an architectural problem

with an essentially musical solution, a detailed polyrhythmic study with light and shade as the dynamic rande.’

Xenakis

(Matossian, 1990, p.69)

managed to instil a sense of movement in

into

Xenakis’s design to activate the space; like an

instrument, the architecture is played by the mass movement of sunlight.”

It

upright

light.

facades.

These

divide

the

full

window

elements were placed at distances

drawn from the

Modulor,

since he did not know

how to distribute the points on a straight line.

(LaBelle, 2006, p.185)

is a very subtle way of integrating a similar

atmosphere to a

to

rhythm excites

as material presence is given structure, harnessed

the interiors by carefully placing the concrete casings

“Such

the space with a poetic and dynamic detail: light

It

“musical”

performance but with

creates a dialog between the external

and internal, for both users and the space itself,

Xenakis La Tourette was as what

brought from

Metastaseis

into

easing the transition from one

Rather than adopt a stochastic distribution that relived on the probability, which he discovered in the following year, a strict periodicity with a

element to another.

This

structured predetermined arrangement was used

internal spaces to another that does not appear

(Matossian 1990).

imposing.

could be applied into

the design proposal to generate an immersive architectural

form

with

transitions

from

Along with the manipulation with light,

the design may also benefit from a similar interplay

What

is interesting to note are two effects of

with sound like the arrangement of the concrete

this arrangement, the visual effects of the façade

upright

and the atmosphere it creates in the interiors.

resonating panels instead.

The

casings

to instil, but with The meditative focus of

manages

connecting aurally with the surroundings may

46

Figure 22 (top) and figure 23 (below).

The arrangement of the fascades creates it filters the natural light in.

a visual order and rhythmic flow by the wat in which

47

The

Figure 24 (Top) and Figure 25 (Botthom) Philips Pavilion were inspired by

form of the

behaviour of sounds in the composition

48

the

Metastasis..

be achieved if sounds could be filtered in the same

(Kanach, 1990). For

way as natural light. It will be like opening and

to capture this continuous evolution of sound,

closing gateways of sounds of high frequencies

or pitch, into physical form in an attempt to

and of the immediate surroundings that could

generate sonic spaces that reflect this evolution

effectively train the ears to focus listening.

for

its

this reason,

Xenakis

‘For Xenakis,

visitors.

the

wanted

building

itself had to be structured around a notion

Architecture

as a translation of music

of movement and

“space-time.”:

the hyperbolic

paraboloid structure expresses a flourishing series

Metastaseis

was

also

the

source

of

another

of vectors that seem to pull at the base of the

Philips Pavilion at the 1958 Word’s Fair in Brussel. The sweeping structures, made out of ruled surfaces, were formulated from the scores of Metastasis, a physical manifestation of the fields of glissandi.

structure, piercing the sky and opening up like an

‘In the Philips Pavilion I realized the basic ideas od Metastasis: as in the music, too, I was interested

visitors would move and interact with the space.

in the question of whether it is possible to get

another and would experience the

architectural

project,

the

from one point to another without breaking continuity.

In Metastasis this problem led to Pavilion it resulted in the parabola shapes.’ (Varga, 1996, p.24)

glissandos, while in the hyperbolic

The

use of the glissandi forms were employed

Xenakis

exploded envelope’

In

(Labelle, 2002, p.187).

order to achieve this

Xenakis

concentrated

on embedding a sense of the movement not only in the structure, but dictated the time in which

Visitors

would enter one side and exit from

Pavilion over The space, filled with speakers, showcases music by

the course of eight minutes. over four hundred

Edgar Vares and Xenakis along with film work

by Philippe Agostini, engaging visitors into a space of light, sound and sight immersion. Perhaps the element of time, and combination of light,

represented

sound and visuals are essential components for

a modification of something in time that is

the design proposal as a guide to aid the fluid

because

unnoticeable.

It

believed

that

it

is an entity that is continuous

and one that mankind cannot grasp and always escapes us, since we are a discontinuous being,

transition throughout the building.

The Philips Pavilion operates as a multimedia space,

49

functioning as both a container and platform

listening

(Cage)

for media expression.

(Mozart)

as components that will be projected

The architectural structure

is essentially derived from the continuity of sound from the musical scores of and

is

transformed

into

physical

Metastaseis form. The

into the spaces.

and

The

high

frequency

sounds

former for the idea of

tuning aurally with the surrounding

‘noises’,

developing a composition born from a meditative

diffusion of the sonic vibrations, united with

concentration, and the latter for the frequency

visuals, evokes a short emotive respond from the

levels that is ideal for the human mind.

temporal mergence of the senses.

these will form the internal conditions necessary

Could

this be

adapted into the design to induce an experience

to

of a heightened sensory perception to immerse

translate the audio into visual.

accommodate

these

features

in

Both

order

to

users with the space?

Using the principles of Cage’s 4’33” and Xenakis’s Metastaseis, I intend to conduct a similar

Conclusion

composition of my own that involves the concept

The research into the influential powers of music to identify user with space in an emotional way, can be explained both in it sounds and construction of

its

instrumental

body.

Stradivari’s

violins

bear similar traits to the golden ratio in the placements of the f-holes. based on

King’s (2004)

Although

these were

interpretations, it is an

element that one could apply in the design of the resonating panels.

The

shifting facades could

not only reflect the visual and aural aesthetics of nature, it could behaviour in a similar way to a cymatics experiment.

Most

importantly the main implementation into

the design proposal lie in the concept of focused

50

of listening to the environment and for those sonic events to create the composition.

Figure 26 Sonic

vibrations as colours

51

Site Location

Recording

53

the sounds of the environment

S O N I C

T U N I N G D

e s i g n

E

x e r c i s e

The research from Cage and Xenakis has inspired a design exercise that invovles one to ‘listen’ to the surroundings. Working with Laurence Colbert, a Masters student studying music at Oxford Brookes University. The location, Frideswide

•

Frideswide Square Recording 1 (original recordings)

•

Frideswide Square (Resonated)

square will be the site for this design proposal

•

Frideswide Square (Resonated2) (Darker

II

because we felt thats this space contained a rich source of sounds.

IT

is situated on an island in

the middle of a busy junction with a bus and

The

train station nearby by.

a tone similar to the

It

is also located in

Said

an area that is houses commercial and the

Business

school.

frequency of the recordning registered in

F

sharp tone..

was then

that tone into the recordings, which can be heard in the resonated versions.

The

It

an intereesting task that involved implementating

What

was originally

objective of the experiment was to record

percieved as background has suddenly been united

the range of sounds that were active in the

to form a piece similar to a musical composiition.

area with the use of recording equipment. the

The

sounds that were catpured were extradordinary,

included purely for my own perference.

darker version is a deep tone that has been

you could hear sounds from all directions, from loud noises to ‘quiet’ conversations between two people a few metres at a bus stop. the equipment generated a heightened aural perception.

I

felt

in intune with everything that was happening at this precise moment without the need to see or be at that same space.

This

experience created a

heightened sensory perception of reality, inspiring the formation of a space the architecure to generate an immerisve environment.

An page,

analysis

has

reviewing

been these

discussed

on

recordings.

A

the

next

copy

of

the recording can be found in the cd that accompanies this book, the recordings are split into three parts:

54

The

55

lo c at i o n

is

contains

a

rich

source

of

sonic

events

F R I D E S W I D E F Recording

taken

S Q U A R E S

h a r p

T

o n e

30 Jan 2012.

Recording of 360-degree slow sweep of central location in Frideswide Square, opposite Said Business School.

Recorded

using

Zoom H4n WAV recorder using XY mic 120-degree range on each microphone.

configuration with

Analysis of sound revealed strong resonance around G0, C0 and A3; also evidence of F#8. Therefore some elements of the ‘tone’ of the location emerge.

In

the second audio file (resonated), these tones were

added and emphasised using

Ableton Live

software

resonators.

Bass (from a coach/bus) as low as 12.9Hz (and lower) can be heard, especially around 9’00”.

The

possibly

This

second file (resonated2) uses a different, darker type

of resonator, and maybe preferred.

graph shows the range of frequencies that is

present in the recordings obtained from the site.

The

peaks represents the more predominate tones.

This

graph displays the recording and how its frequency can

correspond to similar tones to musical notes. between

C1

and

C2

The

intervals

represent notes in an octave from

C

to

C. This

is a graph that shows the amplitude (intensity) of the

sounds that have been recorded in the location. It displays the range of sounds that can be heard on site illustrated by the peaks and troughs of the recording.

The

yellow

represents the background noise, whilst the blue represents any additional sounds that appear and disappear, such as footsteps.

56

Forms

t h at

sounds.

57

h av e

been

g e n e r at e d

to

best

capture

the

Potential

architectural

structure

58

3

59

V I S U A L

O R D E R

R e p r e s e n tat i o n

Enitity

of an invisible

synesthete’s

sensory

translation

in

order

successfully translate audio to visual?

Introduction

to

Perhaps

the spatial requirements for both audio and

With

the knowledge gained from the study of

cymatics and the deconstruction of music, this chapter explores the alternative techniques that attempt to represent an invisible entity in visual

spirituality immersive

be

considered

architecture?

In

to

best

order

induce

to

an

consider

these factors we must obtain an understanding of the two components and its applications.

form, referring to feng shui philosophy and the neurological condition that is synaesthesia.

Feng

Spiritual Energies

shui is a means of bringing order to our

experience of the visual world, finding balance

Feng Shui

is a system of aesthetics believed to

in its geometry and proportion in order to

utilize the laws of both heaven and earth, which

harmonise with the spiritual flow of nature.

traces back to the roots of ancient

There

is a connection between the aesthetics of

culture. It has had an immense impact on

Chinese Chinese

sounds and this system because they both rely on

society, the effect ranges from the consideration

the spatial environment to exist and depend on

of planning cities, to the organisation of daily

the conditions of that space, in relation to its

life. It is reliant on ancient

users, to fully acknowledge its presence.

were developed from a spiritual understanding of

have an extended sensory perception

of

with

a

select

few

utilising

sciences that

the world around them; the ancient sciences were

Synesthetes reality

Chinese

their

known as astrology, geology and magnetism.

successful in making others aware of this sensory

‘The Chinese felt they shared a fate with the earth. When it was healthy and prospered, they thrived; when the balance was destroyed, they suffered. So it made sense, in Feng Shui terms, to

translation.

enhance the environment rather then harm or

creativity to share their vision for others to experience.

Each

in their own way offer a visual

representation of an invisible force, and has been

deplete it, thus hurting the changes for good

Could

these factors be implemented into the

design

proposal

to

replicate

the

success

of

60

luck and happiness’

An

( Rossbach, 1983, p.8).

epiphany occurred in

spiritual exercise that one should consider when

Ancient China

when

the people began to connect with the world them,

around

Taoism. The of Lao Tzu,

influenced

by

the

principle

of

religion originated in the works teaches

Eastern

society to live in

designing spaces.

methods involve the two

and the five elements.

The Chinese

Yin and Yang believed that

the universe was created as a result of the two opposing natures of

Yin

and

Yang,

manifesting

harmony with nature through the esoteric art

into two conflicting opposites, for example light

of “wu wei”, meaning to let nature take its course.

and dark.

Early Chinese

components can link back to the

civilisation felt they shared a fate

that linked its people to its land, believing that

Feng Shui

The

spiritual essences of these two

cymatics experiments.

He

Lautewasser’s

found that at certain

can be felt in spirit,

frequencies the patterns resembled the symmetry

penetrating air, land and woven through the

of living plants, observing two spirals spinning in

bodies of the people it surrounds.

opposite directions into one another.

the presence of

Taoism

believes

that this almost physical force that could be felt in the land became known as spiritual energy, or

Ch’i,

Tao,

embodies a

that flows throughout

the universe and in every object, animate or inanimate

(Darby, 2007). It

is this energy that

feng shui practitioners follow for guidance to mapping the spiritual flow to suit one’s needs.

The

‘The

very

structure of sound as a waveform, a succession

of opposite states, brings to mind, the rhythms of life and the universe. exhalation,

and

As

and

expressed in inhalation

expansion

night and day, and the

achieve a harmonious balance with the earth,

and

Buddist

contraction,

concept of

Yang’ (Lautewasser, 2006, p76).

There

Yin

is a potential link between sonic and

method involves visually arranging order from

spiritual energies as a creative force present in

the placement of objects and the balancing of

nature.

elemental properties in a space.

respond with the human psyche, whether through aural

The

interaction

with

this

invisible

force

is

the

Each

attempts to establish an emotional

and/or

emotive

visual qualities

mechanisms, of

highlighting possessing

a

spiritual aspect.

shui refines our senses harmonising them with the

two principles may enhance the immersive quality

world.

in an architectural form.

The

notion of connecting our senses

Perhaps

music

channelled through our visual perception, feng

with the beauty of nature can be achieved by the

61

These

aspects that make up ch’i, energies of

an infusion of these

When

designing to

accommodate sounds in a space, feng shui could

Figure 27

“Feng Shui

observes the relationship between the seen and

unseen forces of nature.�

Collins (1999, p.2)

62

Figure 28 The Feng Shui Compass

that provides a visual guide to the

spiriutal energies present in their environment.

62

develop the transition between audio and visual,

us, it signifies that we should be able to tap into

applying the two opposing natures to the forms

each element, making it present in the space that

of the internal spaces.

we inhabit.

Shapes,

the presence of water,

What

is interesting to consider is

forces, the former in small, curved shapes and

“Water features attract Ch’i. Moving water, such as in fountains and waterfalls, encompasses both visual

dark colours, while the latter is associated with

and auditory components and provides a pleasing

large, angular shapes and light colours.

place to rest the eye and ear

objects and colours found in interiors

are also believed to evoke the

Yin

and

Yang When

and build vital

(Skinner, 2008).

there is a balanced quantity of each, it is said to evoke harmony where one become tuned with the

Water

surroundings.

in cymatics and feng shui, as a medium that can

‘When Yin and Yang are balanced, you experience

is a common entity, playing vital roles

generate

an

immersive

condition.

Its

presence

operates as an aural perception and a visual

each room in your home as comfortable and

platform for sounds to exist in cymatics, whilst

beautiful

it’s natural movements builds spiritual

protects

– a personal paradise that nourishes and your health, happiness, and prosperity’

(Collins, 1999, p.54).

Ch’i flow.

It is for these reasons that this will be implemented into the architectural form to establish a dialog between the principles.

The

presence of water in

the spaces can influence how users could aurally,

Elemental Forces

visually and feel the sonic vibrations

(cymatics),

whilst providing a meditative journey from space

The Yin

and

Yang

properties play an important

part in our lives, especially when their interactions produce the five elements:

Metal

and

Wood. They

Water, Fire, Earth,

are considered as the

basic building blocks of everything physical on the

planet,

providing

a

connection

between

to space.

The

principles of feng shui emphasises one to

establish an awareness of nature’s spiritual energy that is present in our surroundings.

It

embodies

similar properties to sonic vibrations, a force that

these

we cannot see but can be ‘felt’ through other

elements are always manifesting and are apart of

can teach its users to

mankind and nature.

(Collins, 1999) Since

sensory perceptions.

It

64

refine their senses and capture a visual order of

Syneasthesia [Visualisation

of

Sounds]

arrangement that harmonises with the spiritual flow of nature.

The

spiritualistic reasoning of

one’s spatial opportunities to reconnect to the natural environment has been a feature that is

often

lost

advancement.

in

A

today’s

spiritual

vast

technological

re-connection

with

‘I consider synesthesia to be an altered reality.

It is an alternative sensory window on to the world, and alternative way of coloring out thoughts (or tasting them, etc.)’ (Ward, 2008, p.59).

the surroundings will implant an extra layer to the architectural form that accommodates the immersive powers of sound.

Not

only will one

Cymatics our

renders sounds visually by altering

common

sensory

perception,

this

sensory

be immersed in the sounds of the surroundings

translation

(Cage) and at (Mozart), one

the appropriate frequency level

experience a multisensory perception of reality,

will

creating

also

undergo

a

spiritual

meditative awakening.

an

Synaesthesia

actually artificial is

a

causes

the

form

observer

synaesthesia.

of

neurological

to

condition

in

which individuals that are affected experience

The

creation of an immersive architecture from

audio

to

visual

in

regards

to

the

previous

sensations from multiple sensory pathways when a single sensory organ is stimulated.

Synesthetes

research is directing towards generating a spatial

experience the world in extraordinary ways; they

dimension that subjects one to experience space

can tastes words, see names in colours and witness

through heightened senses.

The immersive qualities into architectural form,

arrangements of numbers gliding through space.

is

Meaning “joined sensation”, it is important to note that the ‘extra’ percept coexists alongside what one would normally experience. For example seeing

a perception of reality that is common in those

sounds as colours does not replace the heard

with the neurological condition of synaesthesia,

sounds, they are instead perceived simultaneously.

where sensory receptions merge and one begins to

Although

of sounds translated

will offer the human body to experience sonic vibrations aurally, visually and spiritually.

perceive reality in an altered manner.

This

they may undergo similar experiences,

the intensity varies between individuals.

Synaesthesia

highlights

how

individuals

objectively see the world, there are at least

54 type

65

types; many can experience more than one

(Day, 2007). Synesthetes

have suggested

Figure 29 (top) What

and

Figure 30 (bottom)

if you had an altered perception of reality and began to

see sound as colours, would this connect you with space in an emotional way?

66

Figure 31 Immersing

oneself into the aural sounds and its visual colours

67

that the extra percepts can manifest in one of

creating

two ways, they can be projected into specific

experience of synaesthesia.

spaces

that

artificially

creates

the

locations in real world (projectors), or exist as a mental imprint in the mind’s eye

(associators) (Dixon, Smilek, & Merikle, 2004). It is therefore a subjective first-person experience, making it very

Coloured Hearing

difficult to truly understand exactly what one

the appearance of coloured shapes and movement

perceives.

Often

many synesthetes are unaware of

their unusual perception, believing that many view the world in a similar manner

Synesthetes

(Cytowic, 2009.)

are able to perceive their reality

as a result of an altered view of the ‘common’ spatial dimension.

It

is activated by their ability

Coloured

hearing is the common name given to

from sounds heard from environmental noises and music.

The

aural perception is synchronised with

firework explosions of vibrant coloured shapes that fade away and leave behind a kaleidoscope montage of its imprint, so long as the varying sound stimulus continues

(Cytowic, 2009). What

to observe an extra layer in the physical space or

is interesting to note is their perceptual reality

in their minds that stimulates their extraordinary

enables them to spatially interact with sonic

perception.

‘Synesthesia

may provide a unique

window into the nature of how the brain creates a sense of space.’

(Ward, 2008, p.90) The research exploration in regards to Timbrecolour synaesthesia [music as colours] could

vibrations without the need for the applications of cymatics.

They

are able to immerse themselves

in an environment that is connects them aurally and visually with a space. music,

Mary Lou Luff

When

listening to

observes a projection of

reveal a perspective of how one may begin to

coloured shapes above and in front of her,

understand the observation and representation

seeing blue as sharp lines and angles and green

of this perceived reality.

This

concept may assist

in creating a sense of space that bridges audio into a visual body, which in effect could be a tool that informs the creation of an immersive architecture.

In the discussion of I propose to create

the nature of synaesthesia,

as soft curves

(Cytowic , 1985). But

how does

one begin to understand or attempt to perceive their altered reality, since their perspective is an inward experience?

Similar

to

feng

shui,

where

one

is

presented

architectural spaces that

with visual order to experience spiritually with

reflect the immersive qualities of cymatics in

space, a select number of synesthetes attempt to

68

(chords)

represent their extended perceptions for others

occurs when a group of notes

to share their unique experience, particularly in

up or down by a certain interval, an interval

move

the works of

French composer Olivier Messiaen New York artist Carol Steen. Each in their

is the distance between the notes when placed

and

on the musical staff.

Figure 32 shows a copy Colours de la Citie Celeste for composer, where Messiaen has annotated the

own field utilises their artistic talents as a

of the score of

form of expression, a guide into the mind of a

a

synesthete, as creativity is a common means of

music with reference to specific colours that

(Ramachandran

one should evoke at each part, in accordance to

communicating these concepts and

Hubbard, 2003).

that sound.

‘I’ve

noted the names of these colors

on the score in order to impress this vision on

Seeing

“Not

with your

the conductor who will, in his turn, transmit

Ears

this vision to the players he conducts: the bass

only does he strive to express the precise

I

say it, “play red,” the woodwinds

colors of sound, but he also tells us exactly

should “play blue” etc.’

score of

His

what they are.

Furthermore, referring to the Colours de la Citie Celeste by which he recreates the luminous effects of stained glass’

(Lurai, 1968, p.82).

style of guiding the composer to translate

his synaesthesia vision and channel it into the

(Cytowic, 2009, p. 174).

performance of the musicians, is a unique method

Messiaen’s

synaesthesia is bidirectional, he observes

method instils an awareness of his perception

music as colours and colours musically, and

evoking one to form audio and visual associations

that makes his music instantly recognisable.

what is interesting is the way in which he uses this to create a method for musical compositions,

of the individual and harmonised sounds.

‘guide’

His This

can establish an emotional identification

combinations of tone and

between user and space, as most people become more

certain sonorities are bound to certain color

attuned with sounds or noise in an environment

(Lurai, 1968, p. 23) He invented a method of composition, which he called the modes of limited

What

telling us,

“certain

combinations, and

69

should, dare

I

employ them to this end.”

when they are paired with a visual association. one can take from this concept is perhaps

a similar format to how users are encouraged to

transposition that communicated his music in

express the meaning behind the piece.

colour terms.

of a controlled environment will guide the

Transposition

is a method that

The

design

Figure 32 Messiaen expressed his synesathesia through his music, indicating on the scores how the composer and musicians should feel when they are playing a specific note.

70

Carol Steen creates her paintings as a means to share and communicate her experience to those who do not have synaesthesia.

Figure 33. (Top) ‘Vision’ Figure 34 .(Bottom) ‘Clouds rising up’

71

user through the building, creating a program of how one should journey through the spaces.

Like

a musical composition, each sequence must be

midst of the red color and move around the red and black fields.’

Her

(Steen, 2001, p.9-10)

synesthetic experiences formed a basis for her

followed otherwise the outcome will not ‘sound’

art piece in figure, triggered from a touch-pain

right.

sensation during an acupuncture session.

The

building will assume a role similar to a

Similar Messiaen, it opens up a form of communication

composer that conducts the users on a path to

to

heighten their sensory perception with the sounds

into

of the environment.

perception.

An

emotional identification

how

one

The

could

potentially

share

her

method of using colour in her

with the space will hopefully be encouraged,

artwork as a creative force inspires my own set of

effectively immerse users aurally and visually in

synesthetic art paintings in an attempt to capture

the present space.

a visual imprint of sonic vibrations.

The influence Messiaen’s coloured scores and Steen’s artistic pieces, have become the foundations for my ‘Sonic Harmonic Paintings,’ generated from a of

Hearing

with the

Carol Steen

is an

Eyes

American

artist who uses her

synaesthesia as an inspiration in her artwork.

She

is able to see colours when she listens to music

construction of a stringed instrument seen in

Deisgn Exercise III. The

colours that have been

used depict differentiating sounds and emotions.

and creates paintings from them, translating the

This

vibrations of sound into an image and sharing

spatial forms for the internal spaces to induce

with those who cannot perceive what she can.

could become a means of generating the

synesthetic experiences for the users.

The proposed

building will become a medium to create an audio

‘Lying

there,

I

watched the black background

to visual translation; perhaps the façades could

become pierced by a bright red color that began to form in the middle of the rich velvet blackness.

The red began as a small dot of color and grew quite large rather quickly, chasing much of the blackness away. I saw green shapes appear in the

72

resonant to the aural environmental conditions

synaesthesia could be cultivated by comparing

of the site, recreating

three groups of

Steen’s

artistic expressions.

Buddhist

mediators with their

different lengths of practice:

Meditative States

and

Zen. The

experiment

Theravadin, Tibetan revealed

that

the

length of meditative practice correlated with

Dr

Richard

Cytowic

spent

twenty

years

researching the condition to prove that it is inherent in all of mankind, believing that we all, to a certain degree, perceive synesthetically

(Cytowic, 1993). It

is a common observation to

associate an auditory pitch with visual lightness; aspects of regular multisensory perception can

a

conclusion

that

perceptual sensitivity.

Walsh’s

meditation

may

enhance

(Walsh, 2005)

observations suggest that the creation

of a meditative environment could be an untapped pool for stimulating synaesthesia, constructing a

share similar traits to synaesthesia.

space to replicate a state of sensory deprivation.

“To get from normal multisensory perception (present in the many) to synesthesia (present in the few) involves adapting and reinforcing these rules. Something in the brain of synesthetes pushes

into the design for the forms of specific internal

them beyond a point of no return and into an

which share the common thread of isolating and

altered reality of sensory experiences. that is doing the pushing?

The

This may be a component that could be integrated

What

is it

(Ward, 2008, p.60)

formation of the architectural design will

attempt to challenge the question whether one can ‘push’ the boundaries of its users to acquire a synesthetic experience to extend their sensory perception, to bridge the gap from audio to visual representation. the

73

an increase in synesthetic experience, drawing

University

Rodger Walsh, a psychiatrist at of California, explored whether

spaces

that

reflects

this

intention.

This

can

achieved in various methods, water immersion and the construction of anechoic chambers both of

Figure 35. (Top) Figure 36 .(Middle) Figure 37. (Bottom) A series of Anechoric chambers

Figure 1 Sound

frequencies vibrating water to form patterns.

74

Figure 38 Musical Immersion

75

controlling one’s aurally perception of reality.

‘The

After

realization that there is no such thing as silence.

all,

meditative

environments

are

most

effectively with fewer distractions.

This

inspiration he most often mentioned was his came about sometime in

1951

or

1952

when

he had a chance to visit an anechoic chamber

Sensory Deprivation

at

Harvard University. ‘An

acoustic anechoic

chamber is a room built to absorb and block

The

most common condition to induce sensory

deprivation is to submerge one in water,

‘The water

sound reflections so as to approach conditions

of absolute silence; the room is covered with

immersion technique (figure) is often mentioned

sound-absorbent material, and usually insulated

as

on the outside as well to prevent sound from

one

which

provides

a

relatively

drastic

reduction in sensory input, and yet, even under

coming in’

from various sources such as water ripples, blood

Anechoric

these conditions, subjects experience stimulation pounding in ears, and swallowing sounds’

, 1969, p.21). In

(Zubek

an environment removed all sense

of reality it enables one to focus on establishing a deep awareness of our surroundings, one begins to become tuned in a similar manner to

4’33”. As

Cage’s

the function of the immersive building

is to create a synesthetic experience, this type of room will be featured in one’s journey through the building.

Even

when all senses are stripped in a deprivation

room, they are not removed completely and some remain present but are felt at smaller degree, as silence does not complete exist.

As Cage discovers Harvard

when he visited an anechoic chamber at

University.

(Gann, 2010, p.160). chambers are remarkable rooms.

They

are lined with large foam wedges that are able to absorb

99.8

per cent of the energy of a sound

60 to 20,000 or more hertz.

(Revill, 1992) Although it has a high absorption level, not all sounds are completely removed and the 0.2 per cent still remains in the space. wave ranging from

“Anyway, in that silent room, I heard two sounds, one high and one low. Afterward I asked the engineer in charge why, if the room was so silent, I had heard two sounds. He said, “Describe them.”

I

did.

He

said,

“The

system in operation. in circulation”

high one was your nervous

The low one was your blood

(Cage, 1969, p.134).

It is interesting how one is stripped out all sounds

76

and is left with the sounds of one’s own working

regards to

body.

that

This

environment will be a useful space to

his findings show

environments

can

encourage

include in the immersive architecture because it

one to perceive such observations, leading to my

will remove all distraction, focusing one to

interpretation to construct water immersions

develop a meditative and spiritual awareness of

and anechoic chambers to induce such behaviours.

oneself.

The

In

this environment, perhaps users will

formation of these spaces will hopefully

begin to develop a synesthetic experience after

subject the users into a focused state and awaken

undergoing this meditative process both in the

a certain degree of synaesthesia that is inherent

water immersion and the anechoic chambers.

in all of us

Synaesthesia alters one’s view of reality by merging

With

the sensory perceptions and creating responses

will

that are not usually experienced, such as seeing

key research areas that will directly influence

and hearing sound.

the design proposal to generate an immersive

Synesthetes views resembles an This concept of using

(Cytowic, 1993).

these conditions in mind, the dissertation lead

into

the

task

in

implementing

the

artificial form of cymatics.

architecture.

synaesthesia as a means of artificially recreating

developed from the research

a cymatics experience will aid the transformation

apply the findings into the process of designing

of audio to visual in the formation of the

the form and function of the building.

internal spaces that will attempt to induce a synesthetic experience.

The

works of

Steen

has inspired the creation of

my own sonic harmonic paintings that could potentially form the plans or patterns for the internal spaces, while

Messiaen’s

musical guide

of indicating what colour one should project for each sound has influenced the way in how users should experience and inhabit the spaces in

77

Walsh (2005)

meditative

acquiring

a

synesthetic

experience.

With

Using the design exercises that have I will attempt to

78

77

S O N I C

H A R M O N I C D

E

e s i g n

Translating

P A I N T I N G

x e r c i s e

III

sound into visual form

This experiment is attmepted to capture the visual imprints of sonic vibrations using colours. This was obtained from a device that is similar to a string instrument.

The

vibrations are produced

from plucking the elastic strings coated in paint, leaving a visual mark.

The

sonic movement is

captured as it travels through space and time.

Inspired The

by synesthesia research

intention of this experiment was to record

an imprint of the vibrations as it travels through the air, so that we can hear and see the sounds.

The

recordings are my personal translation of

the sonic vibrations in attempt to translate sound

into

form,

inspired

by

Carol Steen’s

paintings of her own perception.

This

exercise has provided me with a synethetic

experience

of

seeing

sounds

as

colour.

The

interesting patterns have been used to form wax model, in an attempt to capture a permanent form that remains even when the sound is removed.

The sonic harmonic process can be seen in a video recording that has been included in the cd.

80

81

Vibrations

as a visual form

Vibrations

resemble a musical score

82

81

D E S I G N C

E X E R C I S E y m a t i c s

S

I V

c u l t p u r e s

Translating sound Three-dimensional form (Permanent) The

cymatics exploration begun to configure

sound into a three-dimensional body, however once the energy was removed the form ceased to exist.

The

use of wax as a means to stabilise the

resonance was implemented in capturing sound as a

physical entity.

The

experiment involved

producing laser cuts panels of the sonic paintings and pouring wax over the openings.

The

wax

would gradually dry as it travelled through the openings, solidifying to leave behind a three dimensional imprint.

The

wax

imprint

resembled

forms

found

in

cymatics experiments, providing a link between the two methods of representing sound in visual form.

These

patterns will be used to generate the

internal floor plans of the spaces.

The

cymatics

shape and arrangement will be implemented into the design of the anechoric chamber and the cymatics pool room.

84

85

Concept

model and sketches to show space and

how users could interact with the space to experience a syenthetic environment.

The Wax Model

is a

1:100

model of the building,

the idea of building underground will hopefully begin live back to the spaces that are active but out of site.

86

87

A RC H I T E C T U R A L C

Using

y m a t i c s

the cymatics research,

I

S

F O R M

c u l t p u r e s

will attempt

to draw inspiration from the fluid forms to generate my building form.

88

Form

of the building is generated from cymatics experiments

89

A RC H I T E C T U R A L C

y m a t i c s

1:100 Model

S

F O R M

c u l t p u r e s

of the structure above ground

90

Lift

Staircase to U nderground Level 1

Anechoric Chamber

91

Reinforced Steel Frame

Ground Level

Staircase to Underground Level 2

Cymatics Pool Room

Water Immersion

scale.

1 : 200

92

B U I L D I N G F

93

r i d e s w i d e

O N s q u a r e

S I T E

94

S T R U C T U R E G

r o u n d

L

e v e l

Entrance

Life N 95

Scale. 1 : 100

to lower levels

New Bus Stop Area

Staircase

to lower levels

Exhibition Area

96

S T R U C T U R E U

Lift

n d e r g r o u n d

L

e v e l

to lower level

Anechoric Prep Room

97

N

Scale. 1 : 100

Locker Room

1

Water Immersion

prep

room

Staircase

to upper level

98

P L A N S U

n d e r g r o u n d

L

e v e l

2

Anechoric Chamber

Walkway

to

Cymatics

pool room

99

N

Scale. 1 : 100

Vibration Generator

Cymatics

pool room

Walkway to Water Immersion Chambers

Water Immersion Chamber 100

F O U N D A T I O N S

101

t e e l

c o l u m n

t o

c o n c r e t e

Stiffeners Weld Spillway Anchorage bolts

Metal

column

Support

and

base plate

Concrete foundation

Scale 1:10

102

C U R V E D C

Cross 103

W A L L

o n s t u r c t i o n

bracing (welded)

a n d

s t r u c t u r e

Cross

bracing

Connector Nodes

Metal

column

(welded)

Scale 1:10 104

105

scale.

1 : 200

106

The Anechoic Chamber is constructed with 99.99% sound absorbent materials.

The walls are doubleinsulated, and they are made of steel and concrete. Along the walls are 3.3-foot thick fiberglass acoustic wedges.

A N E C H O R I C M 107

C H A M B E R

e d i t a t i o n

r o o m

108

The

cymatics room is filled

with a pool of water that generates natural

ch’i

flow

and

sounds.

The

room

itself will also record the sound from above ground, implmenting a tone that fits the sounds like the tone.

There

F

sharp

is also a pool

space that offers users to feel the vibrations throguh thier bodies..

C Y M AT I C S

RO O M S

109

o n i c

T

u n i n g

110

4

43

C O N C L U S I O N

The

concept of an immersive architecture began

intended to capture this moment as a permanent

with the observations of musicians during a

form in the architectural structure, unlike the

concert

hall

performance.

become immersed in the

They appeared music, channelling

to the

temporary state of the solution that discontinues when the frequency is removed.

In

keeping with

emotions of the composition through their body

the morphing behaviour, the implementation of

and create a visual representation of the aural

resonating facades was proposed to create the

qualities of the sounds.

illusion that the form is shifting, replicating

Music

can evoke an

intense emotional response in human beings and

other ‘moments’ in the experiment.

it is this aspect of sound that the dissertation has attempted to instil in an architectural form.

What

In

was the similar behaviour of the solution and

order to translate the audio into visual,

was discovered during these experiments

question

musician’s body when under the influence of

whether sound could be used to generate form

frequency, each appears to lose control falling

in the architectural design process.

into a trance that disappears when the source

cymatics

studies

became

a

tool

to

Throughout

the dissertation the research was intended to

is removed.

consider how one could replicate music’s immersive

perfect representation of audio qualities for the

qualities to create an immersive architecture that

creation of an immersive architecture.

identifies with users on an emotional level.

reason,

I

The

form derived from cymatics is a

For

this

believe that it can be integrated in the

architectural process to generate form that is

The research into cymatics, especially in Dr Jenny’s scientific adaptation to the experiment, enabled

reflective of this nature.

an understanding of how sonic vibrations can

formation of unique cymatics shapes that could

be rendered as a visual form.

the

experiments

What was

was discovered the

unlimited

simple experiment

have been potentially used; as a result a fusion of

that involves running a frequency through a

the various shapes formed the overall structure.

plate excites the substance to shift from their stationary position into one that is dictated by

For future projects the use of precise technology could be implemented to record the various shapes,

the sounds themselves.

highlighting the common pattern that repeatedly

His

A

during

works has inspired the

formation of my own set of experiments with the

emerge.

use of a non-Newtonian fluid that transforms

sonic imprint of its ‘true’ nature that can be used

from a liquid solution into three-dimensional

as an architectural form.

shapes when subjected to frequency.

The

This

common pattern would become the

design

112

Cymatics

experiments

generate

a

multisensory

from both feng shui and

create an environment that resembles an artificial

was an intention to keep the experience that

form of synaesthesia.

It

Walsh’s

research, there

is this relationship that

was formed to be of one that grew from one’s

was used to create a transition of cymatics

emotions of being in that space with their own

from the external to the internal, generating a

way of interpreting the effects of the outcome.

synesthetic environment that would place the

This

users ‘inside’ a cymatics experiment and not merely

as a main feature in most of the internal spaces.

observe but also interact with it.

experience was achieved by the use of water

This interaction

Unifying both our audio and visual perception, it

could not have been simulated without first

plays an important role in feng shui and cymatics

delving

experiments.

into

the

minds

of

synethethes

and

The

principles of feng shui believe

begin to understand visualise their observations,

that its flow carries spiritual ch’i bringing life, it

Steen and Messiaen.

was implemented into the design to observe a way

their methods differ in representation,

of visualising the order of spiritual energy, like

drawing upon the methods of

Although

at its core they both intended to engage others

sound it is an invisible entity.

into the mind of synesthetes.

the

This

impacted on

design

adopted

this

From

element

the research by

utilising

the way in which users should journey through

its flow to form a guide for users to journey

the building in a specific and ordered way.

through the building from the different spaces.

The

works of the synesthetes provided a method of

The

creating the internal plans and the idea of the

evoking the meditative environment to induce

building becoming a journey to experience a first

the synesthetic experience; to fully embrace its

hand experience of this perception.

of the

natural flow the design could develop a series

synesthetes methods could have been developed to

of walkways that connect additional rooms in

form a creativity room in which users are taught

a meandering yet ordered system.

to interpret and express their surroundings in

the nature of its presence remains effective and

a synesthetic way.

This

balanced to evoke harmony and balance in the

the

experience

synesthetic

Each

could have strengthened in

the

architecture for future expansions.

immersive

However

for

this project, in keeping with the meditative aspect

113

of inducing a spiritual synesthetic experience

perception of reality, merging audio with visual to

use of this medium has been successful in

emotions of its users.

Nevertheless

The

internal spaces merely provided a platform in

frequency of

9000

hertz to supply vital energies

which, like the plate in the cymatics experiment,

for the brain to stimulate it.

acted as a medium to display the experience.

Although

The

the proposal for a space with these

spaces intends to connect emotionally to the

implementations would indeed encourage users

user to identify them with perceiving space in

to interact and tune with the surroundings

an altered manner, similar to how one can be

via other means, the ever-changing sonic events

influenced by the sounds of music.

Walsh (2005)

occurring above ground could make it very

states that meditative environments can awaken

difficult to constantly alter the tone to match

the synaesthesia that is believed to be inherent in

the fluctuating noise readings. In keeping with the

all of us.

conditions translated into the

concept of this idea of being tuned, the operators

form of three internal spaces, water immersion,

of the building could pre-record the events and

anechoic chamber and a cymatics pool room.

subject users to the sounds of particular days.

Although

This

These

the poolroom did not function as

will

form

an

interesting

concert

space

a form of sensory deprivation, its functionality

that could play specific sonic events from its

focused more on the tuning aspect of a meditative

completion day to the present that would still

process.

in effect configure background noise into music.

The mind and body would become immersed

in a musical symphony of background noises that

This

were directly channelled into the space from

research areas such as the

the sonic events occurring above ground.

the golden ratio to strengthen the link into

These

sonic events would become unified with a similar tone, as discovered in the

Cage-Xenakis

extension will bring forward the other

Philips Pavilion

and

the design.

design

exercise, what appears as background noise could

The

actually be musical.

intention was to provide

that should concentrate on evoking a trans-

an experience with a location aurally, removed

sensory experience of sound through intertwining

from

any

visual

The

associations,

this

the qualities of the visual aesthetics of cymatics

component users would naturally rely on the

and the experiential properties of synaesthesia. It

other senses, creating eventually a heightened use

is through the fusion of both principles that is

of other sensory perceptions.

key for one to begin to replicate the immersive

The

without

creation of an immersive architecture is one

intent of the

similar tone would resonant at the recommended

qualities of music.

114

5

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List of Illustrations Figure 1: Volk, J., 2002. Sound Insights. Kindred Spring Magazine, 60, pp.14-17.

Figure 2: http://mysuccessvision.blogspot.com/2010/01/music-and-brain.html Figure 3: http://www.bluecatsandchartreusekittens.com/voorkantomslag.jpg Figure 4: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.135.

Figure 5: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.47.

Figure 6: Jenny, H., 1967. Cymatics: The structure and dynamics of waves and vibrations. Switzerland: Basilius Presse A G, Basel, pp.23.

Figure 7: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.38.

Figure 8: Jenny, H., 1967. Cymatics: The structure and dynamics of waves and vibrations. Switzerland: Basilius Presse A G, Basel, pp.169.

Figure 9: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.62.

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