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. Figure 10: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.69. Figure 11: Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing, pp.69. Figure 12: Balfoort, D.J., (1972). Anthonius Stradivarius. Sidgwick and Jackson: London, pp.9 Figure 13: King, A., 2004. How Stradivari positioned the F-holes, pp.3 Figure 14: King, A., 2004. How Stradivari positioned the F-holes, pp.7 Figure 15: http://www.psmag.com/wp-content/uploads/2010/08/mmw_brainmusic_012210.jpg Figure 16: http://modernvibes.blogspot.co.uk/2010/08/vicente-lara-dj-nano-behind-these-hazel.html Figure 17: Putz., J., 1995. The Golden Section and the Piano Sonatas. Mathematics Magazines, 68(4.), pp. 275-282. 123
Figure 18: Gann, K., (2010). No such thing as silence: John Cage’s 4’33”. New Haven: Yale University Press, pp.61 Figure 19: http://www.restandnoise.com/blog/2010/12/of-note-john-cages-433/ Figure 20: http://designprobz.tumblr.com/ Figure 21: Xenakis, I., (2010). Arts/Sciences: Alloys. Translated from Greek by S. Kanach. New York: Pendragon Press, pp.66 Figure 22: http://www.galinsky.com/buildings/latourette/index.htm Figure 23: http://www.reinierdejong.com/2011/06/la-tourette-interior/ Figure 24: http://lab-au.com/v2/_files/colour-sound-image/poeme-electronique_hyperbolic.gif?width=504&height=440 Figure 25: http://lab-au.com/v2/_files/colour-sound-image/poeme-electronique_hyperbolic.gif?width=504&height=440 Figure 26: http://www.scenartherapist.co.uk/images/iStock_000001299825Medium.jpg Figure 27: Rossbach, S., 1983. Feng Shui. United States of America: Hutchinson Publishing Group Figure 28: http://www.sharonannriley.com/apps/blog/show/1246238-feng-shui Figure 29: http://www.guardian.co.uk/science/2010/nov/19/synaesthesia-cross-overs-senses Figure 30: http://www.guardian.co.uk/science/2010/nov/19/synaesthesia-cross-overs-senses Figure 31: http://www.pincel3d.deviantart.com Figure 32: http://labouscarle.wordpress.com/2010/11/08/olivier-messiaen/ Figure 33: http://synaesthesianna.files.wordpress.com/2009/10/steen_vision-1.jpg?w=500&h=592 Figure 34: http://www.epistemocritique.org/spip.php?article210&lang=fr Figure 35: http://zazenlife.com/tag/anechoic-chamber/ Figure 36: http://nanobioart.com/nanolab/recent-posts/page/8/ Figure 37: http://www.art.co.uk/products/p14006075-sa-i2847712/posters.htm 124
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