SYN-AESTHESIAHui(Adriana)WangGraduateThesis2022
TABLE OF CONTENT 1. STATEMENT P 04 2. PROVOCATION P 08 3. POSITION P 24 4. PROJECT P 32
Space in the Margins, BY kendal Anz
STATEMENT
SYNAESTHESIA is a term from the ancient greek syn, "together" and aisthesis, "sensation", first used by German physician Georg Tobias Ludwig Sachs in 1812.
4 1 What is Synaesthesia?
Syneasthesia is a production, from a sense-impression of one kind of and associated mental image of a sense-impression of another kinds. Literately, it is the use of metaphors in which terms relating to one kind of sense-impression are used to describe sense-impressions of other kinds; the production of syneasthetic effect in writing or an instance of this.
c. The relationship between speech sounds and the sensory experiences that they represent
a. The expression of more than one kind of sense-impression in the same word.
b. The transfer of the meaning of a word from one kind of sensory experience to another.
Definition From Dictionary 1 phychology
2 Literature. synesthesia is the use of metaphors in which terms relating to one kind of sense-impression are used to describe sense-impressions of oth er kinds; the production of synæsthetic effect in writing or an instance of this.
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a. A sensation in one part of the body produced by a stimulus applied to another part.
b. Agreement of the feelings or emotions of different individuals, as a stage in the development of sympathy.
c. synesthesia is a Production, from a sense-impression of one kind, of an associated mental image of a sense-impression of another kind
3 linguistics
2Why talk about synaesthesia?
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We have known that both architecture and music composition have different levels of organizations and basic elements. The homogeneous and homotopic transformations to match the basic elements as a vocabulary for translation. And
Architecture is an assembled visualization of technics, functions and form creations rather than specific kind of sense-impression. The relationship between syneasthesia, which is a method of describing art, and architecture is about translating. Both architecture and syneasthesia involve acts of translation and transformation.
3New Definition of Synaesthesia: Homogeneous and homotopic transformations -music and space translation
As a result, architecture can be designed through a translation from specific piece of music and color effect, using syneasthetic mode of description.
The architectural creations are based on designers’ subjective consciousness and understandings of the objective situations. That is why architecture is a kind of Thecreation.central topic of art is also creating. Syneasthesia is creating a bridge between different sense-impressions. When talking about the word “depressed”, it is easy to think about a cold color like blue ore a cloudy sky or a music piece like “gloomy Sunday”. These all describe (or are transformations of ) the emotion “depressed”.
Architecture is a means of formatting to visualize life experience. This involves aspects, such as the appropriate sizes of different spaces, the most efficient room arrangements with the correct procedures of using, and material characteristics.
The new definition is about to talk about how to translate one art form to another.
-Music and color translation
Music and color translation based on the layered light creation. Within the research for James Welling’s work Choreograph, the optical filters can be digitally used to create a assemble of colors and contents, which matches the music part layers. The material chosen for its ability to return light back to where it came, as well as the sequence of light moving creating a layered space, people would become part of the space with their shadows like what Omar Gomez did in his work Entreluz.
4 Project.
The project is a rehearsal building, which is located in Sichuan Conservatory of Music, RehearsalChina.
building is the creation of an environment for practicing and rehearsing musical works. Rehearsals include not only a quiet, separate space for solo practice, but also a space for multiple people to practice such as group dances, orchestras, and operas. In many cases, the Conservatory's rehearsals are open to instructors and a small community audience for timely feedback and guidance. Due to the limitations of the building's size, the simultaneous arrangement of individual spaces, small group spaces, and larger auditoriums in a rehearsal building requires a more flexible Thearrangement.projectis translated from the chosen music piece 14 CANONS, created by J.S.Bach. 14 CANONS bases on the first 8 important notes in Bach’s Goldberg Variations, BWV 988 and extend it into 14 different variations.
Graduate Thesis 2022 7 then match the second level of elements, such as small groups of basic elements like chords and melodies. Finally, the music composition can be translated into a piece of architectural project.
The project contains three parts including the characters of the 14 CANONS.
3) In the three fragments (#7, #8, #12) related to rate change, the performance of basic phrases at different speeds and chord combinations are concentrated. The basic definition of rate variation is the playing of the same notes at different durations. Therefore, when the same melody is combined at different rates, it creates an increase in density of the same melody in a linear one. In architecture, linear melodies can be graphically analogous to paths, then rate combination fragments can be analogous to expanded spaces dependent on roads, which by definition compound the description of merit open public spaces.
1) The core and primary structure of the entire project comes from the eight-note basic phrase of the Canon and its five variations (#1, #2, #3, #4, #13). The basic phrase permeates the entire piece, is represented in all 14 fragments, and is the basis for the composition of the 14 canons. In architecture, this ubiquitous and fundamental element is often the core of the building and the foundation of the 2)structure.Inother six of the fragments (#5, #6, #9, #10, #11, #13), an additional melody is added to the basic phrase and can be combined with the basic phrase to form a harmonious new melody. The melodies of each fragment are distinctive and different from each other. In the architecture, the most characteristic and character-defining part is the design of the space. In rehearsal architecture, the element that can reflect the different scales and characteristics of the space is the setting of different rehearsal spaces.
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10 TRANSLATIONSPACE COLOR MUSIC PROVOCATION
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how to prove syneasthesia is existing and create syneasthesia?
It is hard to convince people to imagine the sound of a color, or a shape of echo. In syneasthesia it is critical to have a commen sense about specific situation. But the common sense is different in crowds. Like color red, in some culture it is means glory and in another culture it means terror. In my project, the first thing is to set up a series of rules for translation. Under the rules, spaces, musics and colors can be translated to each other. Then the composition of the rebuilt space can express the same story as the music composition, as well as the color composition such as paintings.
TRANSLATION12 : MUSIC - SPACE Iannis Xenakis - polytypes Cosmogonies in Sound and PROVOCATIONArchitecture
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The Polytope de Montréal (1967) was a media installation in the French Pavilion made for the opening of the Ottawa Art Gallery after the Expo 67 which included a sculpture, a light show and a musical composition. The light sculpture consist ed of, “a geometric array of steel cables stretching up through the multi-tiered atri um of the building, with 1,200 flashbulbs attached to the cables”. Once each hour, for eight minutes, the audience is able to see some volumes made of lights in movement in the centre of the pavilion. The flash lights change every 25th of a second, but the eye perceives them as continuous movements.
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James Welling documented philip johnson’s iconic glass house, built in 1949 in new canaan, connecticut. ‘glass house’ consists of photographs taken over a span of three years using a digital camera a numerous coloured filters placed between the camera and the subject. welling discusses his technique further ,‘ I’ve been using the word “filter” as a noun but it’s also a verb. a filter lets some wavelengths of light through and certain kinds of information to seep in. in addition to plastic, colored filters, I introduced clear glass, clear plastic, fogged plastic, pieces of glass that were slightly uneven and tinted, and finally a diffraction filter that breaks light into the spectrum.’ the large scale inkjet prints continue welling’s interest in colour phenomena and the inner workings of how the eyes and brain work to perceive images. - SPACE James Welling - Glass
TRANSLATION : COLOR
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PROVOCATIONHouse
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TRANSLATION : COLOR
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SPACE James
To create Choreograph, Welling photographed dancers performing in New York, Philadelphia, Boston, and Los Angeles, ultimately combining these images with landscapes and architecture. In a multichannel hack, Welling attains “pathological color”—the purposeful misuse of imaging technologies as a way to short-circuit conventions of photographic representation. Welling notes: “To my surprise, the buildings and landscapes that I used often seem to function like theatrical stages for the dancers. By choosing to use ‘choreograph,’ drawing with dance, as a noun, I am noting its similarity to ‘photograph,’ drawing with light.”
Every work in the series begins with three black-and-white photographs, each digitally entered into one of three color channels—red, green, or blue—in Photoshop and combined into a single image. Welling makes adjustments until the picture resolves to its final form, which he secures by making an inkjet print. The result is a dense visual field infused with the science of color perception, the psychosomatic experience of physical space, and the history of photographic representation.Welling -
PROVOCATIONChoreograph
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A collection of nylon threads is pulled taut across the space with Diaz and Vega using varying intensities of light to create a sense of motion and movement across the piece. Viewers are free to interpret the representation as anything dynamic and in constant motion—a ghost, a UFO, a bundle of hope, a brushstroke, or a memory.
A haunting, large format installation, _SPECTRA by Fiama Diaz and Miguel Vega, uses eleven Ketra luminaires to provide light in various color temperatures (2000K-5000K).
Controlled by Lutron, the Ketra light sources gave the artists total flexibility to place light with precision, layer color temperatures and intensities, and to create multiple focal points and sensations. The installation can be seen throughout the space and was designed to be appreciated from various angles.
TRANSLATION : COLOR - SPACE Lineal Lights in Juan Soriano PROVOCATIONMuseum
In JARDIN RiZOMATICO, Shamin Cecilia Ramos explores light as a root force that interconnects both the material and immaterial. The artist constructed an enclosed room within the exhibit—essentially a white box with a textured floor, featuring six Ketra ceiling lights and a white bench for visitors to sit. The lights are programmed to deliver highly saturated light that paints the walls and floor of the constructed space in a rainbow of colors. A mirrored surface within the space allows viewers to observe the changes in how they look and feel as the colors shift.
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In a return to the theme of natural phenomena, PHOTOTROPISME by Anahy Cabrera depicts the slow morphological patterns that form in reaction to the sun’s energy. A visual exercise in texture and color, light fills in each frame, creating a “painted” brushstroke that feels real enough to be touched in one moment—and then vanishes in the next. This installation features two types of lighting expertly interwoven to create the artist’s stunning sequences: Ketra light sources provide the bold, saturated colors that define the ambience, while three other fixtures, one per canvas, cast white light in various intensities.
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Artist Omar Gomez turns light on its head by focusing on the absence of light, shadow, in his installation Entreluz. His canvas, a gray retro-reflective fabric, was chosen for its ability to return light back to where it came. The exhibit’s light source— which included a combination of Ketra lamps—delivers a specific sequence of light either moving along the white color temperature spectrum or comprised of saturated pinks, greens, blues, purples, and reds depending upon whether the immediate space is empty or occupied. When visitors step in the actual installation, they stand between the canvas and the light source, becoming part of the work themselves. Taking a flash photo creates a stunning result: visitors appear only as their silhouette, the interplay of the flash and the retro-reflective canvas combining to create shadow.
24 Steve Reich's 1967 Piece Piano https://www.youtube.com/embed/Jqoieg0VqagPhase TRANSLATION : MUSIC - COLOR Music PROVOCATIONVIsualization
Graduate Thesis 2022 25 Claude Debussy: The Snow is https://www.youtube.com/embed/OdbovGjt-nADancing
8:27 - 9:20 is based on resonance in an oscillating system, an actual physical pheanomenonspectacular example of it in real life is when seismic waves in an earthquake hit buildings at their resonant frequency, and cause buildings to literally shake themselves apart.
Homogeneous26 and homotopic IannistransformationsXenakis-Pithopraktaforthosegenuinelycurious,Xenakiswasverymuchamathman.Hetriedtomakemusicwhichwasrepresentationalofforcesinnature.E.G.chaoticfunctionssuchasthemathwhichtriestoexplainBrownianmotion.Takethosefunctions,zoomin,zoomout(makingdifferentdensitiesbutconsistentinform)thenmaketheformofthepiececonsistentwiththemicrostruc-tureswithin.
POSITION
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Music[Tchaikovsky]compose
Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form, but each contains a minor melodic masterpiece.
28 The Seasons
color
MusicPOSITIONCompose Analysis
Graduate Thesis 2022 29 color pattern (space)
30 6 June: Barcarolle ( G minor ) PART 1 &3 (main) TYPE 1 TYPE 2 TYPE 3 PART MusicPOSITIONCompose Analysis
Graduate Thesis 2022 31 PART 2 PART 4 (ending)
32 PART 1 &3 (main) TYPE 1 TYPE 2 TYPE 36 June: Barcarolle ( G minor ) MusicPOSITIONCompose Analysis
Graduate Thesis 2022 33 TIMBRE 1 Main Theme TIMBRE 2 CHORD A CHOR B
34 1-6 Polyphony Canon https://www.youtube.com/embed/B7BFgCXCqGU(2018)1. 2. 5.3. 6.4. TranslationPROJECTUnit Reference
Translation
Project Concept
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38 Music Analysis Basic Sentence 14 canons is abstracted from the first subsection of the Goldberg Variations (J.S.Bach BWV PROJECT988)
14 CANONS manucript
PROJECT40
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44 Pieces PROJECTClasification CORE PIECE 1, 2, 3, 4, 13 ADD-IN UNIT NEW+MIRROR+CORE 6, 8, 11 (NEW+MIRROR) X MIRROR 5, 10 NEW X DOUBLE NOTES WITH 1/16 REST 9 MULTIPLE (SPEED DIFFER) 7, 1X - 4X (ORIGIN) 8, 1X - 2X (CHANGE) 12, 4X-2X-4X-2X -------1X 14, 8X---4X---2X---1X
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46 PART 1 PROJECTCORE
Graduate Thesis 2022 47 VIDEO https://vimeo.com/720840174
PART 2 ADD-IN UNITS PROJECT
VIDEO https://vimeo.com/736067584
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TheSitesite
PROJECT
is located in Sichuan Conservatory of Music. The campus is in the center of the downtown, where the landrange for a new building is limited. At the southern side of the site is the Chengdu City Music Hall, which is a new built performance building faced to the city. At the western side of the site is the main campus of the conservatory, including the student apartment and classroom building.
For a conservatory, it is necessary to have a symbolic rehearsal building, especially when it is settled at the center of a city. The rehearsal building should meet the requirements of various professional rehearsal venues, including space, light and sound requirements. The building need to partially open to the public for performance and shows responses to the city environment. Beside, the building should connect the whole campus using one certain architectural languages.
Sichuan Conservatory of Music, China
Graduate Thesis 2022 51 Project Diagram rehearsal building in Conservatory 63, 300ft² - Lobby 2000 ft² - Cafe 2000 ft² - Museum 4000 ft² - Music Library 6000 ft² - Auditorium1xMainAuditorium 12500 ft² 1 x 2nd Auditorium 2400 ft² 2 x 3rd Auditorium 1200 ft² - Media Room 6 x Media Room 600 ft² - Rehearsal Room 12 x Instrument Rehearsal Room 400 ft² 6 x Group Rehearsal Room 800 ft² - Classroom20xClassroom 400ft² - Administration & PR 10000 ft²
