Visual Acoustics
Acknowledgements
We wouldlike to show our appretiationto Peter P.Goche.He was our instructor andhe was there to offer upguidanceto helpus narrowdownourmanyideas intothisfinal installation thatwe seetoday.
We wouldalso like to acknowledge all of our peers that shared their ideas, support,and compliments.Theyencouragedus to do better while also supportingthe choicesthat wemade.
Lastly we wouldlike to say thank you to all those who visited the site andexperienced the installation andthose of our classmatesas well.
Thankyouall, Devin,Jack, Will,Tien
“The place where light and dark beginto touch is wheremiraclesarise.”
-Robert A.Johnson
Index I.Context II.Installation III.Performance IV.Credits
“There isa crack in everything,that’show light getsin.”
-Leonard Cohen
VisualAcoustics
VisualAcoustics isaninstallation thatextendsbeyond architectureas a profession, while following the guidelines stipulated bythe studio brief. “Advanced studio as incubatorfor examining progressiveagendas within or beyondthe disciplineof architecture. Innovativeresearch that isacademicallyrigorous,criticallyinformed, speculative, and design-ledis encouraged.” -PeterP. Goche
.
Uponreceiving this brief, the class was introducedto the site,BlackHeritageFarm.Wheretheyimmediatelybegan to research the site itself in orderto understandthe surroundingcontextto ensure the installation was not only aestheticallypleasing,but alsorelevant tothesurrounding site. We immediatelyrealized that the history surrounding the site was muchmore interestingthan what initially meets theeye.
Black HeritageFarmisthe siteofBlackContemporary Studio. This studiohas beena catalyst of artistic expression for over a decade, utilized bylocal artists inAmes, IA. This studio is locatedin one of six concreterooms in a defunct seeddryingbin found on the farm, which hasn’t served a utilitarianpurpose forthe betterpartofacentury.
I.Context
“Thetaskofthe architecturalprojectisto reveal,throughthe transformationofform,the essenceofthesurrounding context.”
-Vittorio Gregotti
II.Installation
Bin number 11was a blank slate, containingfour concrete walls, a timber ceiling,a slanted gratefrom when the bin was utilized for seed drying,and a decayingwooden wall allowingsmall amounts of lightto infiltrate from the southern sun. Initially, it was decided that the installation was to be interactive andmemorable, andthis would beachieved by stimulating the audience’ssenses in multipleways. We finally settled on stimulating the senses of sightand sound, due tothe acousticsthe barrenbinprovided.
We determinedthat a visual element was idealin orderto dictate auditorystimulation,to achievethisaninstrument was createdfrom scratchthat would directlyrespond to the conditionsof the bin.Using fishing line, it was possibleto createa visual installation that was aesthetically pleasingby stringingthevarious lines from the timberrafters until they disappearedthrough the slanted grate below.
Although this alone was visually pleasing,it didnotfulfill the auditory aspectwe strived to achieve, hence our creation of a makeshift instrument bycombining a steel drum,harp strings, anda wooden pallet.
As the fishing line would disappearthroughthe grate, it would bedirectly connectedto our fabricatedinstrument. When one of the fishing lines wouldbe plucked, this would createa soundemanating from the instrument. In other words,interactingwith the visual installation wouldcreate a visual andauditory experience.
“To hear a sound is to see a space.”
-LouisKahn
“Life as manifested is vibration.Vibrationis motion,thereforealllifeisin motion.Harmony ofvibration uniteslifeforms.”
-DorinneDavis
“The magicbehindevery outstanding performance is always foundin the smallest ofdetails.”
-GaryRyanw
III.Performance
The performance itselfwasnotlong,howeveritwasimpactful.It beganbyhaving a performer walk through the fishing line, plucking or strumming the lines to create an auditory effect.Theperformancewould switch off between pluckingindividuallines to create singular notes, andstrummingthe various lines to createa strummingeffect.The strings wouldbe illuminated to createa visual effect,however any manipulation of saidstrings wouldcreate an auditory experience.
The finalresultwasatotallyimmersiveexperience thatthe user coulddirectlycome in contactwith. Thiswas a direct result of the surroundingenvironmental context,allowing for those who entered our binto besurprised, consideringwhat was found inside would not beexpected.The performance was very openended,not havingto rely on time restraints, it couldbeas long or short as desired.
In conclusion,Visual Acousticswouldallow for the user to directly interactwithnotonly thespace itself,rather allowing the user to interact with the contextand elements provided bythebin tocreatenotonly avisual, butalsoanauditory experience.
“Effectiveperformanceis preceededbypainstaking perparation.”
-BrianTracy
“Everyactionisa performance.”
-AndrewDavenport
IV.Credits
Instructor: Peter P. Goche
Site: Black’s HeritageFarm
GuestReviewers: Sharon Wohl, KevinLair, Sarah Zenti, Ashley Baldwin,CruzGarcia,Cameron CampbellandAndrew Gleeson
