A u d i o - V i s u a l

Raymond Yee09009563Major studyP30600

I m m e r s i v e A r c h i t e c t u r e

A u d i o - V i s u a lI m m e r s i v e A r c h i t e c t u r e

TABLE OF CONTENTS

INTRODUCTION

1. CYMATICS PATTERNS OF SOUND

Origins Chlandi Sound Figures Control of the Experiment Sonic Forms found in Nature Water Flow Deisgn exercise i: cymatics experiment

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

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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

4. CONCLUSION

5. BIBLIOGRAPHY

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‘tHe musician Draws tHe bow across tHe Violin string anD immeDiately tHe inert atmosPHere becomes Vibrant anD transParent…as if sounD from non-sPatial realms sHines tHrougH a winDow into tHe worlD of sPace.’ (ricHarDs, 2009, P.30).

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 meloDy flows from tHe instrument as an inVisible waVe tHat is Detectable by tHe ear, anD in turn, stimulates tHe minD. its aural Presence, along witH tHe Visual exPression of musicians, can seDuce its listeners to DeVeloP a bonD witH music on an emotional leVel, insPiring tHe creation of Virtual images, ProDuceD from tHe manifestations of wHat one interPrets from wHat one Hears (buDD, 1985).

tHe effect tHat music Has on any giVen Person Varies DePenDing on tHe sensory structures anD limitations PresenteD witHin one’s boDy. Due to tHis, tHese Visual manifestations can DeVeloP an intense sensory anD emotional connection in Particular PeoPle. it can be so Powerful tHat it can create trances, altering states of consciousness anD becoming lost in tHe sounDs (rouget, 1985). music Possesses Powerful ProPerties in its ability

to create Visual anD emotional links, tHerefore, sHoulD its interPretation be limiteD to tHe auDial Dimension, anD coulD its Presence be translateD into PHysical form?

cymatic exPeriments ProViDe an oPPortunity for sonic Vibrations to exist as a Visible entity. ‘cymatics, tHe stuDy of waVe PHenomena anD Vibration, is a scientific metHoDology tHat Demonstrates tHe Vibratory nature of matter anD tHe transformational nature of sounD’ (Volk, 2010, P.2). it is acHieVeD wHen matter is subjecteD to frequencies, in wHicH tHe Particles become exciteD, reflecting tHe moVement of tHe Vibrations. 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 tHis tecHnique be exPloreD to arcHitecturally rePlicate tHe emotional connection tHat music can inDuce?

music by its Very nature eVokes intense emotional resPonse from Human beings. tHis Dissertation will exPlore tHe use of cymatics as a tecHnique to briDge tHe inVisible nature of music witH tHe sPatial qualities of arcHitecture. coulD one DeVeloP a new arcHitecture tHat iDentifies witH tHe user in an emotional way tHat emboDies tHe auDio qualities?

I N T R O D U C T I O N

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cymatics

tHrougH an exPloration of tHe origins of cymatics i HoPe to conDuct a critical analysis of tHis stuDy, obserVing tHose wHo HaVe unDertaken exPeriments anD finDings tHey HaVe obtaineD, HigHligHting key influential figures tHat HaVe eacH aDaPteD anD DeVeloPeD tHe stuDy. key figures incluDe robert Hooke’s arbitrary tecHnique of stimulating Patterns, ernst cHlanDi’s arcHiVe of images, tHe works of Dr Hans jenny wHo integrateD a scientific layer tHat ValiDateD tHe exPeriment anD concluDing witH alexanDer lautewasser wHo generateD 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, but will also ProViDe an unDerstanDing of tHe PrinciPles beHinD tHe Process in wHicH it can Visualise sounD. cymatics tecHnique is DeVeloPing as a tool to exPlain otHer matters closely linkeD witH sounD, witH an unDerstanDing of tHis fielD, coulD

we begin to integrate tHe metHoDs into an arcHitectural Practice? musical composition

sounD, tHe DriVing force beHinD tHe cymatics exPeriments, wHen structureD forms musical comPositions tHat Possess immersiVe qualities from its ability to establisH an emotional iDentification witH its listeners. it is on tHis founDation tHat an examination of tHe Various stages in creating 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 will Draw uPon 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.

straDiVari’s Violins are renowneD for its ability to create Delicate sounDs; king (2004) suggests it is most likely Due to its construction, wHicH Has been tHougHt to be associateD witH tHe golDen ratio. tHe golDen ratio is tHe ‘iDeal’ ProPortions in accorDance witH nature tHat is

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Figure 2 & 3.Sound waves connecting with human emotions

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figure 1sounD frequencies Vibrating water to form Patterns.

figure 2sounD waVes connecting witH Human emotions

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tHougHt to Promote Harmonious qualities. How Has tHis consiDeration influenceD tHe quality of tHe sounD of a musical Piece, or Does tHe Power of its sounD lies in tHe musical notation encoDeD by tHe comPoser?

tHe musical creations of mozart HaVe been recognizeD for its Healing anD PositiVe imPact on tHe Human PsycHe (robertson, 2002). tHe Pieces are tHougHt to attribute sPecific anD Deliberate matHematical Patterns, “on anotHer leVel, tHe genius of tHe comPoser is manifesteD in form anD balance. His music Has been reVereD, among otHer tHings, for its “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 anD to wHat extent is tHis association ValiD in Possessing sucH attributes, or are tHere otHer factors tHat can exPlain tHe immersiVe qualities of His music?

in contrast to mozart, joHn cage aDoPts more of an uncontrolleD metHoDology in His Piece entitleD 4’33” (1952), wHicH ProViDes an alternatiVe tecHnique to tHe conVentional term of musical comPositions. His emPHasis of ‘listening’ to tHe surrounDing sounDs, wHicH we commonly

register as backgrounD noise, form tHe ‘musical’ ingreDients for tHis Piece. cage encourages tHe concePt of listening to tHe sounDs tHat are actiVe in tHe Present enVironment anD for tHose elements to form tHe comPosition. tHe creation of sucH comPosition is insteaD comPoseD from cHance, witH tHe ‘HaPPenings’ of sounDs uniting in tHe creation of a single eVent (labelle, 2006). in concentrating on tHe current moment our minDs Drift into a ‘focuseD zone’ tHat iDentifies witH tHat giVen sPace at tHat giVen time.

exPanDing beyonD His Profession, iannis xenakis infuseD His musical backgrounD into arcHitectural form During collaborations witH le corbusier on Projects, sainte-marie De la tourette (1956-1960) anD PHiliP PaVilion at exPo 58. He aPPlieD tHe golDen ratio to Dictate tHe Positioning of glass Panels on an exterior façaDe (matossian, 1990). is tHis a means to instil tHe emotional Powers of music into PHysical form?

tHese comPosers are able to create Virtual imagery witH tHeir comPositions. tHrougH a critical analysis of eacH of tHeir styles, it will be interesting to obserVe tHe metHoD tHat eacH uses to communicate witH tHe emotions of tHe listener anD How effectiVe it is in iDentifying tHe user witH sPace, reVealing PerHaPs tHe conDitions essential to translate auDio to Visual?

representation of an invisible entity

cymatics attemPts to rePresent inVisible Vibrations tHat are Present in our enVironment. tHis cHaPter will exPlore alternatiVe metHoDs tHat striVe to conVey tHe Presence of an intangible entity, witH references to feng sHui PHilosoPHy anD tHe neurological conDition tHat is synaestHesia (or synestHesia). tHe two asPects bear similar qualities in cymatics anD music, but to wHat extent are tHey alike anD How can tHey be fuseD to strengtH tHe emotional iDentification witH sPace?

feng sHui is an ancient cHinese PHilosoPHy Promoting sPiritual Harmony witH nature, tHrougH tHe awareness of tHe unseen cH’i energy. feng sHui Practitioners belieVe in tHe eVer-flowing sPirit of nature anD tHat its Presence can eVoke emotions, DePenDing on How one connects witH it. (rossbacH, 1983).

witH references to writings from feng sHui Practitioners, sucH as teraH collins (1999) anD saraH rossbacH (1983) amongst otHers, i aim to obtain a DiVerse knowleDge of tHe funDamental asPects of tHis PHilosoPHy, exPloring its origins anD its aPPlications in cHinese arcHitectural Design. similar to tHe way in wHicH music eVokes emotions in its rHytHms, cH’i flow also emboDies similar qualities. tHrougH conDucting a

critical inVestigation of feng sHui, PerHaPs auDio transformation into Visual coulD benefit from witH tHe awareness of cH’i flow to assist in its translation into arcHitectural form. DelVing into tHe minD of a synestHete woulD ProViDe anotHer PersPectiVe in Viewing of our 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. it is frequently ProjecteD outsiDe tHe minD of an inDiViDual (cytowic 1989, 1993). synaestHesia stimulates an alternatiVe Dialect of resPonDing to sPaces tHrougH altereD sensory PercePtions, in Particular ‘seeing’ tHe inVisible entity of sounD witHout tHe neeD of equiPment, like cymatics, to simulate tHe exPerience. a select number of synestHetes attemPt to rePresent tHeir extenDeD PercePtions for otHers to sHare tHeir unique exPerience. an 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

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figure 3sounD waVes connecting witH Human emotions

figure 4tHe formulateD Patterns coulD Potentially form internal sPaces.

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wHo conVeyeD tHrougH music) anD carol steen (an artist wHo translates Her obserVation tHrougH Paintings), botH of wHom exPress tHrougH creatiVity.

witH reference 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

of sounDs anD metHoDs of Visually rePresenting its entity, an infusion of tHese finDings coulD be aPPlieD in an attemPt to translate auDio to Visual to create an immersiVe arcHitecture.

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1

“well, for me, cymatics is an almost magical tool. it’s like a looking glass into a HiDDen worlD” –eVan grant sPeaking about cymatics at teD.

sounD is an inVisible entity tHat coexists witH our Daily liVes, wHetHer we consciously acknowleDge it or not as tHe normal ear can only Detect sounD ranging from 16,000 to 20,000 Hertz. altHougH it can occasionally create an unPleasant atmosPHere in tHe form of backgrounD noise, tHe majority of its Presence can often insPire anD lift our sPirits. tHis inVisible force alreaDy Possesses Powerful influences; imagine tHe Power it can HaVe if we were able to ‘see’ tHe sounDs in action. cymatics stuDies sounD anD Vibrations in Visual form, offering a View of PerceiVing our worlD in a new ligHt wHere sounDs can be emboDieD as a PHysical entity. tHe Visible Patterns are generateD by recorDing tHe Particle beHaViours wHen subjecteD to Various frequencies. tHe obserVation 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)

cymatic 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 introDuceD into tHe exPeriment by a range of Different sources, witH Various aDaPtations from frequency generators to Present Day use of sPeakers. a simPle metHoD of running a Violin bow across tHe eDge of tHe Plate was tHe initial DriVing force beHinD tHis PHenomenon. in orDer to gain an insigHt into cymatic as a meDium in translating auDio into Visual form, tHe Documentation into How Practitioners HaVe emPloyeD tHe tecHniques in simulating sucH conDitions is wortH noting. tHe exPloration into tHis PHenomenon will form tHe founDations for How one migHt begin to create an immersiVe arcHitecture, coulD tHe DriVing force beHinD cymatics ProceDure of translating auDio into Visual be imPlementeD into tHe Design Process?

origins

robert Hooke was an englisH 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

C Y M A T I C SP a t t e r n s o f s o u n D

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figure 5cHlanDi sounD figures generateD witH sounD

Vibrations on sanD13

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kinetic energy to Vibrate. frequency, measureD in Hertz (Hz) or cycles Per seconD (cPs) is tHe rate of sounD Vibrations anD is commonly iDentifieD from tHe low or HigH-PitcHeD sounD tHat we Hear. Hooke noticeD tHat flour configureD itself into an oVal sHaPe tHat VarieD in sHaPe DePenDing on How mucH Pressure He aPPlieD on tHe bow. tHe moVement communicateD tHe interaction between tHe frequency anD meDium Via tHe cymatic image tHat tHe flour arrangeD into (caDuceus, 2006). 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 was once Present. Hooke’s unDerstanDing of materiality anD tecHnique generateD an array of static cymatic images of sounD tHat coulD be arcHiVeD. PerHaPs tHe façaDes of tHe builDing is one tHat feature similar Patterns to form a Visual arrangement of sonic exPressions.

chlanDni sounD figures

towarDs tHe enD of tHe 18tH century, tHe static cymatic image Process resurfaceD unDer tHe inVestigation of german PHysicist ernst f.f. cHlaDni, tHe “fatHer of acoustics”. He aDaPteD Hooke’s exPeriment by aPPlying tHe same tecHniques but obserVeD tHe resPonse from sanD insteaD, ‘He DiscoVereD tHat Particular Patterns occurreD

DePenDing uPon tHe PitcH of tHe Vibration createD by tHe action of tHe bow. (lauterwasser, 2006, P.7) tHe intricate Patterns from tHe sanD reVealeD tHe Particle’s moVements from areas of HigH Vibrations to areas of low, settling along tHe noDal lines (static areas). ‘lower frequencies are accomPanieD by extensiVe waVe structure, wHile HigHer frequencies are mucH more finely structureD. if tHe Plate Has been coVereD witH fine 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. tHis is tHe Process tHat creates tHe cHlaDni sounD figures.’ (lauterwasser, 2006, P.41)

tHe Publication in 1802 entitleD ‘acoustics’, DisPlayeD a collection of tHe forms anD Patterns of tHe sanD, wHicH He later DeVeloPeD Drawings from tHat are known toDay as cHlaDni Patterns or sonorous images (Volk, 2002). His works DemonstrateD tHat tHe Presence of PitcH coulD maniPulate tangible substances anD encourage tHem to sHift form. tHe limitation of tecHnological equiPment of His time reDuceD His finDings to mere emPirical obserVations, as He coulD not ProViDe tHe frequency Values to suPPort tHe formation of tHe images. ‘work on tHis basis was not easy anD, more Particularly, tHe conDitions of tHe exPeriment DiD not allow a sufficient range of obserVation since tHey coulD

not be freely VarieD wHile tHe exPeriment was in Progress.’ (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 creation of tHe imagery anD tHe latter wanting to unDerstanD How it works. tHere were no means of unDerstanDing How tHe images were able to ‘moVe’ wHen subjecteD to Vibrations as tHe frequency of tHe waVe DisPlacement in tHe exPeriments coulD not measureD. a scientific imPlementation in tHis fielD coulD be exPlaineD tHrougH tHe aDaPtation by Dr Hans jenny, His imPlementation of moDern tecHnology alloweD for a means of control anD unDerstanDing of tHe metHoDs. tHis coulD become a guiDe in tHe formation of my exPeriments tHat intenD to aDoPt tHe cymatics ProceDure into tHe creation of form for an immersiVe arcHitectural Design.

control of the experiments

jenny (1904-1972), a PHysician anD natural scientist, ProViDeD major aDVances in tHis fielD of exPloration in tHe realms of tecHnology anD exPansion of substances in 1960s. known as tHe ‘fatHer of cymatics’, He coineD tHe term anD brougHt tHe subject into Public interest

by Documenting His finDings in book, kymatics (1967). jenny DocumenteD 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, 2006, P.39). tHe crystals were set to Vibrate by tHe current tHat was feD by frequency generator, causing tHe Plate to oscillate. tHe frequency generator, a comPonent tHat allows a range of Vibrations to be generateD, enableD alternate leVels of frequency to be subjecteD to tHe substances by causing tHe Plate to Vibrate at Different frequencies, Hence creating Different Patterns. introDucing scientific aPPlications in His metHoDologies, He was able to Precisely quantify tHe Vibrations anD amPlification (Volume) in arousing tHe Particles into tHeir sPecific formations, “tHus we can always know tHe frequency (number of Vibrations Per seconD) anD also tHe strengtH of tHe imPulses (excursion or amPlituDe of tHe Vibrating boDy)” (jenny, 1967, P.21). most imPortantly He was able to recorD anD DuPlicate tHe exPerimental conDitions of eacH material anD its Pattern, breaking away from tHe suPerficial tag anD ProVing tHese aestHetically Pleasing forms can emboDy scientific creDitability. (Volk, 2002)

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Figure 2 & 3.Sound waves connecting with human emotions

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figure 6 (toP)inDicates tHe moVement of tHe Partices as tHey are subjecteD to sounD.

figure 7 (rigHt)jenny witH His scientific equiPment

figure 8non-newtonian subject tHat arises wHen unDer tHe

influence of sounDs

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one of tHe most interesting aDDitions tHat jenny introDuceD to tHe cymatics exPeriments is tHe use of a solution known as a non-newtonian fluiD. it 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 or lengtH of time tHat stress is aPPlieD. altHougH tHe solution may aPPear in liquiD form, wHen it is subjecteD to Vibrations it temPorarily begins to beHaVe in a tHree Dimensional manner. ‘if tHe generating sounD is DiscontinueD at tHis stage, eVerytHing again becomes a semi-soliD Paste anD cools to form an eVenly DistributeD mass. but if Vibration continues wHile cooling ProceeDs, tHe Picture cHanges yet again.’ (jenny, 1967, P.144)

tHe metHoD in translating auDio to Visual Has now 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 to caPture tHe beautiful forms anD ProPose an arcHitectural form generateD from tHe Pressure of sounD, figure 8. PerHaPs tHe HyPnotic sHaPes formulateD from tHe Pressure coulD be embeDDeD in tHe form, rePlicating Visually tHe immersiVe qualities of cymatics.

jenny (1967) strongly belieVeD tHat mankinD’s interaction witH Vibrations coulD be engageD Via tHree sensory PatHways, we can Hear a Vibration as sounD in tHe air, feel it witH our boDies, anD see tHe effects of Vibration witH our eyes. from tHe tHree forms of engagement, He belieVeD tHat tHe Visual interaction was tHe most limiteD. tHis became an unDerlining force beHinD His intention to Visualise Vibrations tHrougH cymatics imagery, to exPanD Humanities’ Visual sPectrum of a PHenomena tHat is not normally seen. His 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 coulD one begin to Design sPaces tHat inDuce sucH PsycHological conDitions? tHis forms tHe Premises for tHe Design ProPosal of an immersiVe arcHitecture tHat will graDually be DeVeloPeD tHrougHout tHe researcH.

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sonic forms founD in nature

jenny’s works brougHt fore tHe fascinating anD beautiful cymatics stuDies to tHe forefront of toDay’s society, Particularly in tHe works of alexanDer lauterwasser. His naturalistic aPProacH influenceD His examination of cyamtics, DriVen by tHe role sounD PlayeD in tHe creation of tHe uniVerse. ‘jenny was an aDVocate of tHe iDea tHat cymatics DescribeD a sounD-matrix at work in nature, an inVisible DriVing force tHat 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)

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 to me, tHey bore a close relationsHiP to tHe structures founD in nature, esPecially seen Here witH tHe tortoise sHell’ says alexanDer (camPbell, 2008). tHe Patterns tHat were generateD were geometric anD reflecteD 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

DeVices. it is interesting How lauterwasser establisHes an analogy tHat sounD Has witH nature, How tHe former, ‘a beHinD tHe scenes force’ sHaPeD tHe current enVironment tHat we liVe in. if we consiDer for examPle tHe grounDs beneatH our feet as tHe ‘Plate’ in tHe exPeriment, anD ourselVes as tHe source of sounD subjecteD uPon tHe surface, oVer time we obserVe Patterns tHat emerge as a result of our interaction. tHese reVeal tHe conDitions of tHe current state of tHe surface, 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 of sounDs, wHereas tHe forms in nature is tHe PHysical manifestation of tHe same ProceDure but oVer time.

Water floW

in lautewasser’s book, wasser klang bilDer (water sounD images) (2008) He Discusses tHe works of His PreDecessors witH tHe aDDitions of His stuDies 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

19

20

figure 9 (toP) tHe Patterns generateD from cymatics exPeriments resembles forms founD in nature

figure 10 (bottom) tHe Various Patterns founD in water sounD images.

20

figure 11sounD frequencies Vibrating water to form rise in

tHree-Dimensional form.

regions of our Planet in one PerPetual circular flow’ (lautewasser, 2008, P.65). He felt tHat tHe multiPle states of water woulD be a suitable substance in Visually caPturing Vibrational beHaViours, subjecting DroPlets of water to Varying amPlituDe (Volume) anD frequency (PitcH)

tHe concePt of water as a flow between cHaos anD orDer bears Very similar traits to tHe notion of cH’i flow founD in feng sHui, an ancient cHinese PHilosoPHy. altHougH tHis is a sPiritual awareness it can be seen as a Visual way of orDering cHaos as a means of liVing in Harmony witH nature. as mention PreViously cymatics imagery resemble forms founD in nature, coulD its Patterns be rePresentatiVe of tHe sPiritual force of nature? coulD 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

enableD tHe formation of my exPeriments witH recorDings of insPiring sHaPes tHat coulD be useD for tHe Process of generating form for an immersiVe arcHitecture.

cymatics eVents occur from tHe interactions between tHe inDiViDual comPonents, tHe ‘Plate’ anD ‘force’ tHat excites tHe Particles morPHing tHe substance’s form. Dr jenny (1967) stateD tHat we sHoulD concentrate on tHe interaction between tHe Parts of tHe wHole, ratHer tHan tHe ‘wHole’ as an enD result. now tHat we HaVe establisHeD tHe funDamental PrinciPles beHinD tHe occurrence of cymatics imagery, it woulD naturally leaD tHe inVestigation into tHe DriVing forces of tHe exPeriment, sounD anD music.

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1

translating sounD into three-Dimensional form

‘in 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 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

sounD is DiscontinueD at tHis stage, eVerytHing again becomes a semi-soliD Paste anD cools to form an eVenly DistributeD mass. but if Vibration continues wHile cooling ProceeDs, tHe Picture cHanges yet again.’ (jenny, 1967, P.144)

tHe ViDeo recorDings Demonstrates tHis ProceDure anD can be founD in tHe Digital coPy. figure DisPlays tHe moVements caPture in stills.

C Y M A T I C S E X P E R I M E N T SD e s i g n e x e r c i s e i

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figure 11a cymatics builDings concePt

25

my cymatics ViDeo stills

2

…’tHere is no Doubt tHat music ProViDes one PatH of temPorary witHDrawal from tHe Hurly-burly of tHe external worlD.’ (storr, 1992, P.105)

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. altHougH eacH grouP Has tHeir own style anD embeDDeD meaning in tHeir creation, wHen we listen to music it can immerse tHe listener into a state tHat is influenceD by tHe sounDs.

‘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.’ (storr, 1992. P.25)

tHe Presence of music can HaVe an imPact on its listeners by iDentifying tHem witH sPace tHrougH an emotional connection, encouraging tHe creations of Virtual images DictateD by tHe notes. we become influenceD by tHe emotions tHat tHe sounDs are attemPting to inDuce in a giVen moment or eVent. wHetHer tHis eVent eVokes HaPPiness or saDness, wHen suPPresseD unDer tHe

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 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.’ (storr, 1992 P.98)

it is interesting to note tHat botH auDience anD musician fall unDer tHe sPell of sonic Vibrations wHen summoneD to our Presence. 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 listeners in iDentifying witH tHe sPace auDitory yet unleasHing Virtual images? it is tHerefore Vital to Deconstruct music into tHe comPonents tHat collaborate to form tHis emotional connection, is it embeDDeD in tHe construction of instruments or Do tHe comPosers tHemselVes insert a HiDDen coDe into tHe music?

C O M P O S I T I O Ns o u n D a n D m u s i c

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28

figure 12tHe “roDe” DateD 1722

architecture of straDivari’s violins

‘tHe Violin, so DecePtiVely simPle, can botH Portray anD insPire eVery emotion imaginable, imitating tHe braying of a Donkey or DeliVering a tune of HeartrenDing beauty.’ (faber, 2005, xiV)

tHere are many instruments tHat can conVey an emotional connection to its auDience; eacH Has its own sounD anD Power in tHeir Projection. notHing can quite comPare to tHe works of antonio straDiVari, His Violins anD cellos are renowneD for tHeir magnificence on song anD in tHe rigHt HanDs, DeliVer outstanDing tones in concert Halls.

straDiVari remains one of tHe great mysterious in DiscoVering tHe secrets in His instrument masterPieces as, ‘no single Violin maker Has eVer excelleD Him in tHis resPect, anD only few HaVe equalleD Him’ (balfoort, P. 23) if we are to attemPt tHe translation of auDio into Visual we must first DelVe into Various tHeories tHat many HaVe 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 success began in tHe 1660s wHere an aPPrenticesHiP unDer tHe guiDance of nicolas amati formeD tHe founDations for His creatiVity. tHere were no sucH teacHing of acoustics; insteaD all knowleDge was gaineD tHrougH Practice anD equiPment.

it wasn’t until 1690 tHat straDiVari DeciDeD to break away from tHe influence of amati, after HaVing remaineD faitHful to traDition since amati’s DeatH in 1684. He began to giVe greater amPlituDe to tHe boDies anD useD a HigHly coloureD VarnisH. faber (2005), states tHat one of tHe most DebateD elements of Violin construction is tHe VarnisH tHat was useD. it Has a significant role in enHancing tHe beauty anD 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. unfortunately tHere is no secret reciPe as sucH (balfoot, 1979); insteaD tHere is more of a focus on tHe construction of tHe boDies DriVen by 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.

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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.

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 examPle of How tHe golDen ratio can be exPresseD 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

tHe wHole line to tHe longer Part is tHe same as tHe ratio of tHe longer Part to tHe smaller Part. algebraically, giVen a line of lengtH ab, witH a subDiVision at Point 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).

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.

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figure 13. tHe ProPortioning triangle

‘tHe Distance ab is one-tHirD tHe Pin lengtH. bc is one-Half tHe lengtH of tHe siDe; tHerefore, one-Half ab. tHe line ac is PerPenDicular to tHe siDe oPPosite

Point a, cD is one-fourtH ac. ce is one-tHirD ac. cf is one-HalD ac. bD is tHe HyPotenuse of tHe rigHt triangel bcD.’ (king, 1004)

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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 Pin lengtH can tHen be DiViDeD accorDing to tHe gs in orDer to form tHe Horizontal guiDe for tHe uPPer f-Holes (H). tHe gs can tHen be aPPlieD to tHe l, giVing tHe locations for tHe lower f-Holes. Drawing a 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 14n. amati sHowing Placements of f-Holes

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figure 15tHe Power of muisc on tHe Human minD

Visual aestHetics; tHe oPenings are cut at tHe rigHt size to allow for oPtimum Vibration wHen it is PlayeD. a Potential aPPlication into tHe Design ProPosal as tHe form coulD beHaVe in a Very similar manner to an instrument; tHe enVironmental 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 of music

instruments are lifeless witHout tHe musical comPosition from comPosers. tHe immersiVe Power of music is Present in many classical Pieces by comPosers, HoweVer tHe works of wolfgang amaDeus mozart aPPear to stanD out amongst His contemPoraries. tHe ‘mozart effect’, a term DeriVeD from PsycHologist’s finDings in 1993, DiscoVereD tHat tHose wHo were exPoseD to tHe music of mozart HaD increaseD tHeir sPatial-temPoral reasoning (robertson, 2002). we wonDer wHat makes tHe quality of tHe music so Powerful anD wHere His secrets lie? as tHe objectiVe is to create an arcHitectural form reflectiVe of music’s immersiVe qualities, in a biD to emotional

iDentify user witH sPace, tHe Discussion in regarDs to tHe ‘mozart effect’ may assist in tHe transition into PHysical reality.

the mozart effect

tHe musical works of mozart Has been recogniseD for its mysterious qualities in stimulating tHe Human PsycHe, eVer since a stuDy in 1993 by researcHers at tHe uniVersity of california. tHe researcH team at tHe centre for tHe neurobiology of learning anD memory in irVine conDucteD stuDies to 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 a mecHanism in tHe brain tHat organiseD tHe firing Patterns of neurons in tHe cerebral cortex, esPecially strengtHening creatiVe rigHt-brain Processes associateD witH sPatial-temPoral

33

reasoning. mozart’s music was a Prime canDiDate for exPeriment because tHey were curious of tHe fact tHat He was comPosing at an early age of four. a gifteD cHilD witH an increDible minD, He workeD out an entire Piece in His HeaD before He wrote tHe comPosition on PaPer, witH HarDly any neeD for alterations. He also DemonstrateD imPressiVe memory in wHicH He coulD listen to a masterPiece anD rePlicate it on PaPer, tHe allegri miserere as an examPle (strafforD, 1991). functioning neurologically at sucH a HigH leVel tHere were interest in wHetHer tHis manifesteD in His music. (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 means of introDucing backgrounD noise to Her PuPils to imProVe tHeir Performance, sHe exPlains in an interView witH bbc 4 raDio, concluDeD witH suPPort of tHe Power of mozart oVer otHers. ‘so tHe next stage in tHe ProceeDings were to try 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’ (robertson, 2002).

we can begin to unDerstanD wHy mozart is faVoureD oVer otHers, since His music seem to HaVe tHe most effect, but wHy is it tHis case? coulD mozart’s emotions be emPHasiseD stronger in certain comPositions to cHannel His insecurity of neglect from cHilDHooD (biancolli 1975), or coulD it be tHat His comPositions reflecteD His DeVeloPing minD, in wHicH He exPresseD anD encoDeD in music? tHere are many reasons tHat can be aPPlieD to His works in an attemPt to exPlain tHis, but if tHe music is a Powerful as many belieVe tHen tHe natural Place to seek answers is How mozart constructeD tHese comPosition. from a young age mozart took an interest in matHematics, ‘He talkeD of notHing, tHougH of notHing nut figures’ (king, 1976, P. 1241) tHis is an interesting tHougHt since joHn f. Putz (1995) states tHat tHe nature of music anD matHematics Has been interwoVen since antiquity anD How one can ProViDe entHusiasm for tHe otHer. tHere are beliefs tHat His metHoD of comPosition coulD HaVe featureD tHe use of tHe golDen ratio, witH a Passion for numbers anD Patters, coulD tHe genius PerHaPs HaVe subconsciously emPloyeD tHem into His Pieces?

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Figure 16Sounds feeds the neurons in the brain

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figure 17How mozart’s muisc coulD HaVe imPlementeD tHe

golDe ratio

sonata-form moVement

36

tHe golDen ratio

sonata structure

joHn f. Putz (1995) PublisHeD an inVestigation into mozart’s musical structure of His Piano sonatas anD wHetHer tHey were constructeD in close relations to tHe golDen ratio. He belieVeD tHat His music DemonstrateD beautiful anD symmetrical ProPortion anD inVestigateD How tHese were imPlementeD into tHe comPosition. in 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 wHicH tHe musical tHeme is introDuceD, anD tHe DeVeloPment anD recaPitulation in wHicH tHe tHeme is DeVeloPeD anD reVisiteD. since eacH Part 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 29 constructeD moVements of tHe 56, wHere tHe DiVision of a + b into its inDiViDual Values in for eacH moVement, are broken Down ProPortional in relation to golDen ratio.

His finDings ProViDe Possible eViDence tHat

mozart may HaVe useD tHe golDen ratio, wHicH He reinforceD witH tHe ProDuction of a graPH of tHe number of measures in tHe DeVeloPment anD recaPitulation against tHe total number of measures only. HoweVer tHere was no aDDitional graPH to rePresent tHe exPositions in a similar fasHion. ‘altHougH tHose results migHt seem like soliD eViDence tHat mozart DiD use tHe golDen ratio wHen He DiViDeD tHe sections of His Piano sonatas, Putz knew tHat anotHer comParison must be maDe.’ (mike may, american scientist)

it is tHerefore Difficult to truly unDerstanD tHe Powers beHinD 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 tHat may HaVe imPlementeD His works, as biancoli (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 tHat imPact tHe listener. tHe tHeory surfaceD

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from tHe tHeraPy sessions wHere Patients woulD listen to sPecifically filtereD frequencies aboVe 9000 Hertz, He founD tHat tHe remaining sounDs registereD at a similar leVel to tHat of mozart’s. His matHematician aPProacH may HaVe structureD tHe comPositions to resonant at HigH frequencies to stimulate tHe brain. tHe Power of tHe music coulD Possibly lie in tHe oVerall PitcH of tHe sounDs.

‘tHe tHinking is tHat HigH frequency sounDs are cHarging tHe brain, enricHing tHe brain, giVing energy to tHe brain. tHe brain neeDs, or gets 80 % of its energy from tHe ear. so oVer giVing a HigH frequency sounD, tHis concentrateD energy for tHe brain anD tHat is HelPing us listen better. tHe 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)

smitH’s finDings were obtaineD During sessions witH aDHD Patients (attention Deficit HyPeractiVe DisorDer), wHere tHe sounDs encourageD one to focus out wHat one Does not want to

Hear. HoweVer i belieVe tHat tHis metHoD of conDitioning coulD HaVe a similar effect on tHose tHat Do not suffer from tHis DisorDer, as a means to exPlain tHe cognitiVe DeVeloPment for tHe earlier stuDies tHat mozart is beneficial for tHe brain.

witH tHis concePt in minD, tHe creation of internal sPaces unDer tHese conDitions may well be a means of rePlicating tHe immersiVe qualities of 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, often referreD to as ‘backgrounD noise’. similarly tHe exPerimental comPosition of joHn cage entitleD 4’33” in 1952, encourageD one to connect witH tHe enVironment but insteaD by focusing on tHe sounDs DeemeD as ‘noise,’ as a means to connect witH sPace.

poWer of sounDs

‘sober tHe minD anD make it suscePtible to DiVine influences,” cage on tHe PurPose of music. (cage,

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figure 18. tHe Program of tHe Premiere concert, august 29tH 1952. courtesy of tHe joHn cage turst at barD college

40

figure 19. tHe score to 4”33’ DiD not HaVe any notes as sucH to Play, it was insteaD baseD on tHe surrounDing sounDs tHat were

Present in tHe moment.

1961, P.158) unlike tHe traDitional structureD Premise tHat mozart’s music was built on, joHn cage’s 4’33” comPosition was conceiVeD witH an exPerimental aPProacH. He belieVeD tHat music DiD not HaVe to be generateD by “musical” sounDs anD tHat a collection of noises coulD also create sucH eVents. ‘in music, tHis Vision informeD 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 iDea tHat ‘noise’ coulD form a music Piece offers tHe auDience to exPerience a Different comPosition eacH time. tHis is Precisely tHe objectiVe of 4’33”, to Promote tHe concePt of listening to tHe sounDs tHat are actiVe in tHe Present enVironment anD for tHose elements to form tHe comPosition. tHere is no control in wHat one can Hear in tHe atmosPHere, wHicH makes tHis metHoDology unstructureD anD is insteaD comPoseD from cHance, witH tHe ‘HaPPenings’ of sounDs uniting in tHe creation of a single eVent (labelle, 2006).

one is immerseD in a sonic trance from tHe

collection of not only backgrounD noise, but also HiDDen sounDs tHat we often Do not acknowleDge. it is inHerent in Humanity tHat we rely HeaVily on sigHt oVer any otHer sensory PercePtion (leacH, 1999). our society is DriVen PreDominately by Visuals to connect witH sPace, but unDer cage’s Direction we become aurally aware of all auDible rHytHms of a Particular 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, His concePt will be integrateD into tHe arcHitectural sPaces, encouraging users to focus anD become comPletely tuneD witH tHe sPace, by listening to tHe sounDs of tHe cHosen site tHrougH tHe arcHitecture. tHis coulD stimulate HeigHteneD sensory PercePtions wHere sounD is not only DetecteD by tHe ears but tHrougH all of tHe otHer senses. it is a recreation of a cymatic exPeriment on a larger scale in wHicH tHe users will not only Hear anD see tHe Visual rePresentation of sounD in tHe interiors, but tHey too tHemselVes will feel tHe Vibrations tHrougH tHeir boDy, assuming a role similar to tHe ‘Plate’ as a meDium for communication. tHe

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notion of interacting witH sounD tHrougH all means of our sensory PercePtions stimulates an enVironment tHat is belieVeD to be PerceiVeD by inDiViDuals tHat suffer from tHe neurological conDitions of synaestHesia, tHis will DiscusseD in tHe next cHaPter.

cage founD tHat tHe act of focusing one’s concentration on tHe natural flow of sounDs createD a meDitatiVe exercise tHat enHances tHe sPiritual asPect inHerent in mankinD. ‘tHe Pleasure, Peace, anD sPiritual abunDance tHat He founD affirmeD for Him tHat tHis transformeD state of 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 connecteD from listening, tHe focus awakens one’s sPiritual iDentification witH tHe enVironment. tHis asPect of establisHing sucH connection is embeDDeD in tHe cHinese PHilosoPHy of feng sHui, wHere one is taugHt to become aware of tHe life energies 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

DictateD by tHe arrangement anD Placement of objects in accorDance witH tHe nature’s sPiritual flow. tHis feature coulD be aPPlieD to tHe interior Design of tHe arcHitecture; tHe fusion of botH PrinciPles will establisH a stronger iDentification between user anD sPace. tHe Practice of feng sHui will be DiscusseD in tHe next cHaPter.

straDiVari, mozart anD cage HaVe only conVeyeD tHeir immersiVe conDitions witHin tHe musical realm, neitHer Has exPerimenteD witH exPanDing beyonD tHeir fielD anD instilling tHese metHoDologies into arcHitectural form. tHere 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.

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)

unity in Different sounDs

one of tHe most imPortant works of xenakis

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43

figure 20glisslanDi from metastasis became a Design tool for

tHe PHiliPs PaVilion.

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figure 21tHe musical fascaDe of sainte marie De la tourette

tHat informeD His later Project’s exPloration of music anD arcHitectural Design is metastasis (1953-4), meaning “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.

‘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. like an exPlosion, sounD scatters. scoreD 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.’ (labelle, 2006, P.184)

it 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. tHis was acHieVeD by using tHe fibonacci series, a set

of numbers tHat are calculateD by tHe aDDition of tHe two former Digits, in establisHing tHe Durational moVement anD DiVision of tHe sixty-fiVe seParate Parts tHat form tHe Piece. tHe ratio of aDjacent numbers in tHe sequence ProgressiVely aPProacHes golDen section ProPortions of 1:1.618. (elam, 2001) it 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 metastaseis is comPoseD in a similar way to 4’33”, wHere 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?

unDulating glass panes

tHe concePt of aPPlying tHis matHematical formula to xenakis’s comPosition was first introDuceD wHilst working witH 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

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uniVersally aPPlieD to all Dimensions of a builDing, from winDow Placements to HeigHts of Doors (corbusier, 2004). intrigueD by tHis notion anD HaVing imPlementeD it into His comPosition, wHilst collaborating witH corbusier on tHe sainte marie De la tourette (1954-57), xenakis aPPlieD tHis formula witH a musical PersPectiVe to create tHe glass façaDes. 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.’ (matossian, 1990, P.69)

xenakis manageD to instil a sense of moVement in tHe interiors by carefully Placing tHe concrete uPrigHt casings to DiViDe tHe full winDow facaDes. tHese elements were PlaceD at Distances Drawn from tHe moDulor, since He DiD not know How to Distribute tHe Points on a straigHt line. ratHer tHan aDoPt a stocHastic Distribution tHat reliVeD on tHe Probability, wHicH He DiscoVereD in tHe following year, a strict PerioDicity witH a structureD PreDetermineD arrangement was useD (matossian 1990).

wHat is interesting to note are two effects of tHis arrangement, tHe Visual effects of tHe façaDe anD tHe atmosPHere it creates in tHe interiors. tHe

external is comPoseD of interPlay of continuous Variations of Densities botH Horizontally anD Vertically; tHe former witH tHe frames wHile tHe latter conjures a Harmonic counterPoint of Variable Densities. tHe facaDe resembles tHe scores of a musical Piece, one tHat nature Plays, creating a rHytHmic forces witH its ligHt tHat can be obserVeD in tHe interiors. “sucH rHytHm excites tHe sPace witH a Poetic anD Dynamic Detail: ligHt as material Presence is giVen structure, HarnesseD into xenakis’s Design to actiVate tHe sPace; like an instrument, tHe arcHitecture is PlayeD by tHe mass moVement of sunligHt.” (labelle, 2006, P.185)

it is a Very subtle way of integrating a similar atmosPHere to a “musical” Performance but witH ligHt. it creates a Dialog between tHe external anD internal, for botH users anD tHe sPace itself, as wHat xenakis brougHt from metastaseis into la tourette was easing tHe transition from one element to anotHer. tHis coulD be aPPlieD into tHe Design ProPosal to generate an immersiVe arcHitectural form witH transitions from internal sPaces to anotHer tHat Does not aPPear imPosing. along witH tHe maniPulation witH ligHt, tHe Design may also benefit from a similar interPlay witH sounD like tHe arrangement of tHe concrete uPrigHt casings manages to instil, but witH resonating Panels insteaD. tHe meDitatiVe focus of connecting aurally witH tHe surrounDings may

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figure 22 (toP) anD figure 23 (below).tHe arrangement of tHe fascaDes creates a Visual orDer anD rHytHmic flow by tHe wat in wHicH it filters tHe natural ligHt in.

figure 24 (toP) anD figure 25 (bottHom)tHe form of tHe PHiliPs PaVilion were insPireD by tHe

beHaViour of sounDs in tHe comPosition metastasis..

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be acHieVeD if sounDs coulD be filtereD in tHe same way as natural ligHt. it will be like oPening anD closing gateways of sounDs of HigH frequencies anD of tHe immeDiate surrounDings tHat coulD effectiVely train tHe ears to focus listening.

architecture as a translation of music

metastaseis was also tHe source of anotHer arcHitectural Project, 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.

‘in tHe PHiliPs PaVilion i realizeD tHe basic iDeas oD metastasis: as in tHe music, too, i was interesteD in tHe question of wHetHer it is Possible to get from one Point to anotHer witHout breaking continuity. in metastasis tHis Problem leD to glissanDos, wHile in tHe PaVilion it resulteD in tHe HyPerbolic Parabola sHaPes.’ (Varga, 1996, P.24)

tHe use of tHe glissanDi forms were emPloyeD because xenakis belieVeD tHat it rePresenteD a moDification of sometHing in time tHat is unnoticeable. it is an entity tHat is continuous anD one tHat mankinD cannot grasP anD always escaPes us, since we are a Discontinuous being,

(kanacH, 1990). for tHis reason, xenakis wanteD to caPture tHis continuous eVolution of sounD, or PitcH, into PHysical form in an attemPt to generate sonic sPaces tHat reflect tHis eVolution for its Visitors. ‘for xenakis, tHe builDing itself HaD to be structureD arounD a notion of moVement anD “sPace-time.”: tHe HyPerbolic ParaboloiD structure exPresses a flourisHing series of Vectors tHat seem to Pull at tHe base of tHe structure, Piercing tHe sky anD oPening uP like an exPloDeD enVeloPe’ (labelle, 2002, P.187).

in 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 moVe anD interact witH tHe sPace. Visitors woulD enter one siDe anD exit from anotHer anD woulD exPerience tHe PaVilion oVer tHe course of eigHt minutes. tHe sPace, filleD witH oVer four HunDreD sPeakers, sHowcases music by 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, sounD anD Visuals are essential comPonents for tHe Design ProPosal as a guiDe to aiD tHe fluiD transition tHrougHout tHe builDing.

tHe PHiliPs PaVilion oPerates as a multimeDia sPace,

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functioning as botH a container anD Platform for meDia exPression. tHe arcHitectural structure is essentially DeriVeD from tHe continuity of sounD from tHe musical scores of metastaseis anD is transformeD into PHysical form. tHe Diffusion of tHe sonic Vibrations, uniteD witH Visuals, eVokes a sHort emotiVe resPonD from tHe temPoral mergence of tHe senses. coulD tHis be aDaPteD into tHe Design to inDuce an exPerience of a HeigHteneD sensory PercePtion to immerse users witH tHe sPace?

conclusion

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. altHougH tHese were baseD on king’s (2004) 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

listening (cage) anD HigH frequency sounDs (mozart) as comPonents tHat will be ProjecteD into tHe sPaces. tHe former for tHe iDea of tuning aurally witH tHe surrounDing ‘noises’, DeVeloPing a comPosition born from a meDitatiVe concentration, anD tHe latter for tHe frequency leVels tHat is iDeal for tHe Human minD. botH tHese will form tHe internal conDitions necessary to accommoDate tHese features in orDer to translate tHe auDio into Visual.

using tHe PrinciPles of cage’s 4’33” anD xenakis’s metastaseis, i intenD to conDuct a similar comPosition of my own tHat inVolVes tHe concePt of listening to tHe enVironment anD for tHose sonic eVents to create tHe comPosition.

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figure 26sonic Vibrations as colours

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site location

recorDing tHe sounDs of tHe enVironment

S O N I C T U N I N GD e s i g n e x e r c i s e i i

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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 square will be tHe site for tHis Design ProPosal 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 train station nearby by. it is also locateD in an area tHat is Houses commercial anD tHe saiD business scHool.

tHe objectiVe of tHe exPeriment was to recorD tHe range of sounDs tHat were actiVe in tHe area witH tHe use of recorDing equiPment. tHe sounDs tHat were catPureD were extraDorDinary, 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 analysis Has been DiscusseD on tHe next Page, reViewing tHese recorDings. a coPy of tHe recorDing can be founD in tHe cD tHat accomPanies tHis book, tHe recorDings are sPlit into tHree Parts:

• Frideswidesquarerecording1 (original recorDings)

• Frideswidesquare(resonated)

• Frideswidesquare(resonated2)(darker

tHe frequency of tHe recorDning registereD in a tone similar to tHe f sHarP tone.. it was tHen an intereesting task tHat inVolVeD imPlementating tHat tone into tHe recorDings, wHicH can be HearD in tHe resonateD Versions. wHat was originally PercieVeD as backgrounD Has suDDenly been uniteD to form a Piece similar to a musical comPosiition. tHe Darker Version is a DeeP tone tHat Has been incluDeD Purely for my own Perference.

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t H e l o c a t i o n i s c o n t a i n s a r i c H s o u r c e o f s o n i c e V e n t s

F R I D E S W I D E S Q U A R Ef s H a r P t o n e

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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.

recorDing taken 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 configuration witH 120-Degree range on eacH microPHone.

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 Possibly lower) can be HearD, esPecially arounD 9’00”.

tHe seconD file (resonateD2) uses a Different, Darker tyPe of resonator, anD maybe PreferreD.

tHis 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. tHe interVals between c1 anD c2 rePresent notes in an octaVe from c to c.

f o r m s t H a t H a V e b e e n g e n e r a t e D t o b e s t c a P t u r e t H e s o u n D s .

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P o t e n t i a l a r c H i t e c t u r a l s t r u c t u r e

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3

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introDuction

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 form, referring to feng sHui PHilosoPHy anD tHe neurological conDition tHat is synaestHesia.

feng sHui is a means of bringing orDer to our exPerience of tHe Visual worlD, finDing balance in its geometry anD ProPortion in orDer to Harmonise witH tHe sPiritual flow of nature. tHere is a connection between tHe aestHetics of sounDs anD tHis system because tHey botH rely on tHe sPatial enVironment to exist anD DePenD on tHe conDitions of tHat sPace, in relation to its users, to fully acknowleDge its Presence.

synestHetes HaVe an extenDeD sensory PercePtion of reality witH a select few utilising tHeir 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 successful in making otHers aware of tHis sensory translation.

coulD tHese factors be imPlementeD into tHe Design ProPosal to rePlicate tHe success of

synestHete’s sensory translation in orDer to successfully translate auDio to Visual? PerHaPs tHe sPatial requirements for botH auDio anD sPirituality be consiDereD to best inDuce an immersiVe arcHitecture? in orDer to consiDer tHese factors we must obtain an unDerstanDing of tHe two comPonents anD its aPPlications.

spiritual energies

feng sHui is a system of aestHetics belieVeD to utilize tHe laws of botH HeaVen anD eartH, wHicH traces back to tHe roots of ancient cHinese culture. it Has HaD an immense imPact on cHinese society, tHe effect ranges from tHe consiDeration of Planning cities, to tHe organisation of Daily life. it is reliant on ancient cHinese sciences tHat were DeVeloPeD from a sPiritual unDerstanDing of tHe worlD arounD tHem; tHe ancient sciences were known as astrology, geology anD magnetism.

‘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 enHance tHe enVironment ratHer tHen Harm or DePlete it, tHus Hurting tHe cHanges for gooD

V I S U A L O R D E RrePresentation of an inVi s ible enit ity

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luck anD HaPPiness’ ( rossbacH, 1983, P.8). an ePiPHany occurreD in ancient cHina wHen tHe PeoPle began to connect witH tHe worlD arounD tHem, influenceD by tHe PrinciPle of taoism. tHe religion originateD in tHe works of lao tzu, teacHes eastern society to liVe in Harmony witH nature tHrougH tHe esoteric art of “wu wei”, meaning to let nature take its course. early cHinese ciVilisation felt tHey sHareD a fate tHat linkeD its PeoPle to its lanD, belieVing tHat tHe Presence of feng sHui can be felt in sPirit, Penetrating air, lanD anD woVen tHrougH tHe boDies of tHe PeoPle it surrounDs. taoism belieVes tHat tHis almost PHysical force tHat coulD be felt in tHe lanD became known as tao, emboDies a sPiritual energy, or cH’i, 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 acHieVe a Harmonious balance witH tHe eartH, maPPing tHe sPiritual flow to suit one’s neeDs. tHe metHoD inVolVes Visually arranging orDer from tHe Placement of objects anD tHe balancing of elemental ProPerties in a sPace.

tHe interaction witH tHis inVisible force is cHannelleD tHrougH our Visual PercePtion, feng sHui refines our senses Harmonising tHem witH tHe worlD. tHe notion of connecting our senses witH tHe beauty of nature can be acHieVeD by tHe

sPiritual exercise tHat one sHoulD consiDer wHen Designing sPaces. tHese metHoDs inVolVe tHe two asPects tHat make uP cH’i, energies of yin anD yang anD tHe fiVe elements. tHe cHinese belieVeD tHat tHe uniVerse was createD as a result of tHe two oPPosing natures of yin anD yang, manifesting into two conflicting oPPosites, for examPle ligHt anD Dark. tHe sPiritual essences of tHese two comPonents can link back to tHe lautewasser’s cymatics exPeriments. He founD tHat at certain frequencies tHe Patterns resembleD tHe symmetry of liVing Plants, obserVing two sPirals sPinning in oPPosite Directions into one anotHer. ‘tHe Very structure of sounD as a waVeform, a succession of oPPosite states, brings to minD, tHe rHytHms of life anD tHe uniVerse. as exPresseD in inHalation anD exHalation, exPansion anD contraction, nigHt anD Day, anD tHe buDDist concePt of yin anD yang’ (lautewasser, 2006, P76).

tHere is a Potential link between sonic anD sPiritual energies as a creatiVe force Present in nature. eacH attemPts to establisH an emotional resPonD witH tHe Human PsycHe, wHetHer tHrougH aural anD/or Visual mecHanisms, HigHligHting tHe emotiVe qualities of music Possessing a sPiritual asPect. PerHaPs an infusion of tHese two PrinciPles may enHance tHe immersiVe quality in an arcHitectural form. wHen Designing to accommoDate sounDs in a sPace, feng sHui coulD

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figure 27

“feng sHui obserVes tHe relationsHiP between tHe seen anD unseen forces of nature.” collins (1999, P.2)

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figure 28tHe feng sHui comPass tHat ProViDes a Visual guiDe to tHe

sPiriutal energies Present in tHeir enVironment.

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DeVeloP tHe transition between auDio anD Visual, aPPlying tHe two oPPosing natures to tHe forms of tHe internal sPaces. sHaPes, objects anD colours founD in interiors are also belieVeD to eVoke tHe yin anD yang forces, tHe former in small, curVeD sHaPes anD Dark colours, wHile tHe latter is associateD witH large, angular sHaPes anD ligHt colours. wHen tHere is a balanceD quantity of eacH, it is saiD to eVoke Harmony wHere one become tuneD witH tHe surrounDings.

‘wHen yin anD yang are balanceD, you exPerience eacH room in your Home as comfortable anD beautiful – a Personal ParaDise tHat nourisHes anD Protects your HealtH, HaPPiness, anD ProsPerity’ (collins, 1999, P.54).

elemental forces

tHe yin anD yang ProPerties Play an imPortant Part in our liVes, esPecially wHen tHeir interactions ProDuce tHe fiVe elements: water, fire, eartH, metal anD wooD. tHey are consiDereD as tHe basic builDing blocks of eVerytHing PHysical on tHe Planet, ProViDing a connection between mankinD anD nature. (collins, 1999) since tHese elements are always manifesting anD are aPart of

us, it signifies tHat we sHoulD be able to taP into eacH element, making it Present in tHe sPace tHat we inHabit. wHat is interesting to consiDer is tHe Presence of water, “water features attract anD builD Vital cH’i. moVing water, sucH as in fountains anD waterfalls, encomPasses botH Visual anD auDitory comPonents anD ProViDes a Pleasing Place to rest tHe eye anD ear (skinner, 2008).

water is a common entity, Playing Vital roles in cymatics anD feng sHui, as a meDium tHat can generate an immersiVe conDition. its Presence oPerates as an aural PercePtion anD a Visual Platform for sounDs to exist in cymatics, wHilst it’s natural moVements builDs sPiritual 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, Visually anD feel tHe sonic Vibrations (cymatics), wHilst ProViDing a meDitatiVe journey from sPace 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 we cannot see but can be ‘felt’ tHrougH otHer sensory PercePtions. it can teacH its users to

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refine tHeir senses anD caPture a Visual orDer of 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 in toDay’s Vast tecHnological aDVancement. a sPiritual re-connection witH tHe surrounDings will imPlant an extra layer to tHe arcHitectural form tHat accommoDates tHe immersiVe Powers of sounD. not only will one be immerseD in tHe sounDs of tHe surrounDings (cage) anD at tHe aPProPriate frequency leVel (mozart), one will also unDergo a sPiritual meDitatiVe awakening.

tHe creation of an immersiVe arcHitecture from auDio to Visual in regarDs to tHe PreVious researcH is Directing towarDs generating a sPatial Dimension tHat subjects one to exPerience sPace tHrougH HeigHteneD senses. tHe immersiVe qualities of sounDs translateD into arcHitectural form, will offer tHe Human boDy to exPerience sonic Vibrations aurally, Visually anD sPiritually. tHis is a PercePtion of reality tHat is common in tHose witH tHe neurological conDition of synaestHesia, wHere sensory recePtions merge anD one begins to PerceiVe reality in an altereD manner.

syneasthesia [visualisation of sounDs]

‘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).

cymatics renDers sounDs Visually by altering our common sensory PercePtion, tHis sensory translation actually causes tHe obserVer to exPerience a multisensory PercePtion of reality, creating an artificial form of synaestHesia. synaestHesia is a neurological conDition in wHicH inDiViDuals tHat are affecteD exPerience sensations from multiPle sensory PatHways wHen a single sensory organ is stimulateD. synestHetes exPerience tHe worlD in extraorDinary ways; tHey can tastes worDs, see names in colours anD witness arrangements of numbers gliDing tHrougH sPace. meaning “joineD sensation”, it is imPortant to note tHat tHe ‘extra’ PercePt coexists alongsiDe wHat one woulD normally exPerience. for examPle seeing sounDs as colours Does not rePlace tHe HearD sounDs, tHey are insteaD PerceiVeD simultaneously. altHougH tHey may unDergo similar exPeriences, tHe intensity Varies between inDiViDuals.

synaestHesia HigHligHts How inDiViDuals objectiVely see tHe worlD, tHere are at least 54 tyPes; many can exPerience more tHan one tyPe (Day, 2007). synestHetes HaVe suggesteD

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figure 29 (toP) anD figure 30 (bottom)wHat 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?

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figure 31immersing oneself into tHe aural sounDs anD its

Visual colours

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tHat tHe extra PercePts can manifest in one of two ways, tHey can be ProjecteD into sPecific 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 Difficult to truly unDerstanD exactly wHat one PerceiVes. often many synestHetes are unaware of tHeir unusual PercePtion, belieVing tHat many View tHe worlD in a similar manner (cytowic, 2009.) synestHetes are able to PerceiVe tHeir reality as a result of an altereD View of tHe ‘common’ sPatial Dimension. it is actiVateD by tHeir ability to obserVe an extra layer in tHe PHysical sPace or in tHeir minDs tHat stimulates tHeir extraorDinary 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 timbre-colour synaestHesia [music as colours] coulD reVeal a PersPectiVe of How one may begin to unDerstanD tHe obserVation anD rePresentation 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 tHe nature of synaestHesia, i ProPose to create arcHitectural sPaces tHat reflect tHe immersiVe qualities of cymatics in

creating sPaces tHat artificially creates tHe exPerience of synaestHesia.

coloureD hearing

coloureD Hearing is tHe common name giVen to tHe aPPearance of coloureD sHaPes anD moVement 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 is interesting to note is tHeir PercePtual reality enables tHem to sPatially interact witH sonic 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. wHen listening to music, mary lou luff obserVes a Projection of coloureD sHaPes aboVe anD in front of Her, seeing blue as sHarP lines anD angles anD green 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 witH Visual orDer to exPerience sPiritually witH sPace, a select number of synestHetes attemPt to

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rePresent tHeir extenDeD PercePtions for otHers to sHare tHeir unique exPerience, Particularly in tHe works of frencH comPoser oliVier messiaen anD new york artist carol steen. eacH in tHeir own fielD utilises tHeir artistic talents as a form of exPression, a guiDe into tHe minD of a synestHete, as creatiVity is a common means of communicating tHese concePts (ramacHanDran anD HubbarD, 2003).

seeing With your ears

“not only Does He striVe to exPress tHe Precise colors of sounD, but He also tells us exactly wHat tHey are. furtHermore, referring to tHe score of colours De la citie celeste by wHicH He recreates tHe luminous effects of staineD glass’ (cytowic, 2009, P. 174).

messiaen’s synaestHesia is biDirectional, He obserVes music as colours anD colours musically, anD wHat is interesting is tHe way in wHicH He uses tHis to create a metHoD for musical comPositions, telling us, “certain combinations of tone anD certain sonorities are bounD to certain color combinations, anD i emPloy tHem to tHis enD.” (lurai, 1968, P. 23) He inVenteD a metHoD of comPosition, wHicH He calleD tHe moDes of limiteD transPosition tHat communicateD His music in colour terms. transPosition is a metHoD tHat

occurs wHen a grouP of notes (cHorDs) moVe uP or Down by a certain interVal, an interVal is tHe Distance between tHe notes wHen PlaceD on tHe musical staff. figure 32 sHows a coPy of tHe score of colours De la citie celeste for a comPoser, wHere messiaen Has annotateD tHe music witH reference to sPecific colours tHat one sHoulD eVoke at eacH Part, in accorDance to tHat sounD. ‘i’Ve noteD tHe names of tHese colors on tHe score in orDer to imPress tHis Vision on tHe conDuctor wHo will, in His turn, transmit tHis Vision to tHe Players He conDucts: tHe bass sHoulD, Dare i say it, “Play reD,” tHe wooDwinDs sHoulD “Play blue” etc.’ (lurai, 1968, P.82).

His style of guiDing tHe comPoser to translate His synaestHesia Vision anD cHannel it into tHe Performance of tHe musicians, is a unique metHoD tHat makes His music instantly recognisable. His metHoD instils an awareness of His PercePtion eVoking one to form auDio anD Visual associations of tHe inDiViDual anD HarmoniseD sounDs. tHis ‘guiDe’ can establisH an emotional iDentification between user anD sPace, as most PeoPle become more attuneD witH sounDs or noise in an enVironment wHen tHey are PaireD witH a Visual association. wHat one can take from tHis concePt is PerHaPs a similar format to How users are encourageD to exPress tHe meaning beHinD tHe Piece. tHe Design of a controlleD enVironment will guiDe tHe

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figure 32messiaen exPresseD His synesatHesia tHrougH His music, inDicating on tHe scores How tHe comPoser anD musicians sHoulD feel

wHen tHey are Playing a sPecific note.

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Carol Steen creates her paintings as a means to share and com-municate her experience to those who do not have synaesthesia. Figure 33. (Top) ‘Vision’Figure 34 .(Bottom) ‘Clouds rising up’

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user tHrougH tHe builDing, creating a Program of How one sHoulD journey tHrougH tHe sPaces. like a musical comPosition, eacH sequence must be followeD otHerwise tHe outcome will not ‘sounD’ rigHt. tHe builDing will assume a role similar to a comPoser tHat conDucts tHe users on a PatH to HeigHten tHeir sensory PercePtion witH tHe sounDs of tHe enVironment. an emotional iDentification witH tHe sPace will HoPefully be encourageD, effectiVely immerse users aurally anD Visually in tHe Present sPace.

hearing With the eyes

carol steen is an american artist wHo uses Her synaestHesia as an insPiration in Her artwork. sHe is able to see colours wHen sHe listens to music anD creates Paintings from tHem, translating tHe Vibrations of sounD into an image anD sHaring witH tHose wHo cannot PerceiVe wHat sHe can.

‘lying tHere, i watcHeD tHe black backgrounD 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

miDst of tHe reD color anD moVe arounD tHe reD anD black fielDs.’ (steen, 2001, P.9-10)Her synestHetic exPeriences formeD a basis for Her art Piece in figure, triggereD from a toucH-Pain sensation During an acuPuncture session. similar to messiaen, it oPens uP a form of communication into How one coulD Potentially sHare Her PercePtion. tHe metHoD of using colour in Her artwork as a creatiVe force insPires my own set of synestHetic art Paintings in an attemPt to caPture a Visual imPrint of sonic Vibrations. tHe influence of messiaen’s coloureD scores anD steen’s artistic Pieces, HaVe become tHe founDations for my ‘sonic Harmonic Paintings,’ generateD from a construction of a stringeD instrument seen in Deisgn exercise iii. tHe colours tHat HaVe been useD DePict Differentiating sounDs anD emotions. tHis coulD become a means of generating tHe sPatial forms for tHe internal sPaces to inDuce synestHetic exPeriences for tHe users. tHe ProPoseD builDing will become a meDium to create an auDio to Visual translation; PerHaPs tHe façaDes coulD

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resonant to tHe aural enVironmental conDitions of tHe site, recreating steen’s artistic exPressions.

meDitative states

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 sHare similar traits to synaestHesia.

“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 tHem beyonD a Point of no return anD into an altereD reality of sensory exPeriences. wHat is it tHat is Doing tHe PusHing? (warD, 2008, P.60)

tHe 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. roDger walsH, a PsycHiatrist at tHe uniVersity of california, exPloreD wHetHer

synaestHesia coulD be cultiVateD by comParing tHree grouPs of buDDHist meDiators witH tHeir Different lengtHs of Practice: tHeraVaDin, tibetan anD zen. tHe exPeriment reVealeD tHat tHe lengtH of meDitatiVe Practice correlateD witH an increase in synestHetic exPerience, Drawing a conclusion tHat meDitation may enHance PercePtual sensitiVity. (walsH, 2005)

walsH’s obserVations suggest tHat tHe creation of a meDitatiVe enVironment coulD be an untaPPeD Pool for stimulating synaestHesia, constructing a sPace to rePlicate a state of sensory DePriVation. tHis may be a comPonent tHat coulD be integrateD into tHe Design for tHe forms of sPecific internal sPaces tHat reflects tHis intention. tHis can acHieVeD in Various metHoDs, water immersion anD tHe construction of anecHoic cHambers botH of wHicH sHare tHe common tHreaD of isolating anD

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figure 1sounD frequencies Vibrating water to form Patterns.

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

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figure 38musical immersion

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controlling one’s aurally PercePtion of reality. after all, meDitatiVe enVironments are most effectiVely witH fewer Distractions.

sensory Deprivation

tHe most common conDition to inDuce sensory DePriVation is to submerge one in water, ‘tHe water immersion tecHnique (figure) is often mentioneD as one wHicH ProViDes a relatiVely Drastic reDuction in sensory inPut, anD yet, eVen unDer tHese conDitions, subjects exPerience stimulation from Various sources sucH as water riPPles, blooD PounDing in ears, anD swallowing sounDs’ (zubek , 1969, P.21). in 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 cage’s 4’33”. as 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 wHen He VisiteD an anecHoic cHamber at HarVarD uniVersity.

‘tHe insPiration He most often mentioneD was His realization tHat tHere is no sucH tHing as silence. tHis came about sometime in 1951 or 1952 wHen He HaD a cHance to Visit an anecHoic cHamber at HarVarD uniVersity. ‘an acoustic anecHoic cHamber is a room built to absorb anD block sounD reflections so as to aPProacH conDitions of absolute silence; tHe room is coVereD witH sounD-absorbent material, anD usually insulateD on tHe outsiDe as well to PreVent sounD from coming in’ (gann, 2010, P.160).

anecHoric 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 waVe ranging from 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.

“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 HigH one was your nerVous system in oPeration. tHe low one was your blooD in circulation” (cage, 1969, P.134).

it is interesting How one is striPPeD out all sounDs

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anD is left witH tHe sounDs of one’s own working boDy. tHis enVironment will be a useful sPace to incluDe in tHe immersiVe arcHitecture because it will remoVe all Distraction, focusing one to DeVeloP a meDitatiVe anD sPiritual awareness of oneself. in tHis enVironment, PerHaPs users will begin to DeVeloP a synestHetic exPerience after unDergoing tHis meDitatiVe Process botH in tHe water immersion anD tHe anecHoic cHambers.

synaestHesia alters one’s View of reality by merging tHe sensory PercePtions anD creating resPonses tHat are not usually exPerienceD, sucH as seeing anD Hearing sounD. synestHetes Views resembles an artificial form of cymatics. tHis concePt of using synaestHesia as a means of artificially recreating a cymatics exPerience will aiD tHe transformation of auDio to Visual in tHe formation of tHe 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 acquiring a synestHetic exPerience. witH

regarDs to walsH (2005) His finDings sHow tHat meDitatiVe enVironments can encourage one to PerceiVe sucH obserVations, leaDing to my interPretation to construct water immersions anD anecHoic cHambers to inDuce sucH beHaViours. tHe formation of tHese sPaces will HoPefully subject tHe users into a focuseD state anD awaken a certain Degree of synaestHesia tHat is inHerent in all of us (cytowic, 1993).

witH tHese conDitions in minD, tHe Dissertation will leaD into tHe task in imPlementing tHe key researcH areas tHat will Directly influence tHe Design ProPosal to generate an immersiVe arcHitecture. using tHe Design exercises tHat HaVe DeVeloPeD from tHe researcH i will attemPt to aPPly tHe finDings into tHe Process of Designing tHe form anD function of tHe builDing.

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translating 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 by synesthesia research

tHe 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.

S O N I C H A R M O N I C P A I N T I N G

D e s i g n e x e r c i s e i i i

81Vibrations as a Visual form

82Vibrations resemble a musical score

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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.

D E S I G N E X E R C I S E I Vc y m a t i c s s c u l t P u r e s

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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.

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using tHe cymatics researcH, i will attemPt to Draw insPiration from tHe fluiD forms to

generate my builDing form.

A R C H I T E C T U R A L F O R Mc y m a t i c s s c u l t P u r e s

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form of tHe builDing is generateD from cymatics exPeriments

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1:100 moDel of tHe structure aboVe grounD

A R C H I T E C T U R A L F O R Mc y m a t i c s s c u l t P u r e s

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staircase to unDergrounD leVel 1

lift

a n e c H o r i c cHamber

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reinforceD steel frame

staircase to unDergrounD leVel 2

grounD leVel

cymatics Pool room

water immersion scale. 1 : 200

B U I L D I N G O N S I T Ef r i D e s w i D e s q u a r e

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n

S T R U C T U R E g r o u n D l e V e l

scale. 1 : 100

entrance

life to lower leVels new bus stoP area

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exHibition areastaircase to lower leVels

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S T R U C T U R Eu n D e r g r o u n D l e V e l 1

n scale. 1 : 100

lift to lower leVel

anecHoric PreP room

locker room97

water immersion PreP room

staircase to uPPer leVel

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P L A N Su n D e r g r o u n D l e V e l 2

n scale. 1 : 100

anecHoric cHamber

walkway to cymatics Pool room

cymatics Pool roomVibration generator

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walkway to water immersion cHambers

water immersion cHamber

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F O U N D A T I O Ns t e e l c o l u m n t o c o n c r e t e

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stiffeners

welD

sPillway

ancHorage bolts

metal column

suPPort anD base Plate

concrete founDation

scale 1:10

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cross bracing (welDeD)

C U R V E D W A L L c o n s t u r c t i o n a n D s t r u c t u r e

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metal column

(welDeD)

connector noDes

cross bracing

scale 1:10

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scale. 1 : 200

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tHe anecHoic cHamber is constructeD witH 99.99% sounD absorbent materials. tHe walls are Double-insulateD, 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 C H A M B E Rm e D i t a t i o n r o o m

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tHe cymatics room is filleD witH a Pool of water tHat generates cH’i flow anD natural sounDs. tHe room itself will also recorD tHe sounD from aboVe grounD, imPlmenting a tone tHat fits tHe sounDs like tHe f sHarP tone. tHere is also a Pool sPace tHat offers users to feel tHe Vibrations tHroguH tHier boDies..

C Y M A T I C S R O O Ms o n i c t u n i n g

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C O N C L U S I O N

tHe concePt of an immersiVe arcHitecture began witH tHe obserVations of musicians During a concert Hall Performance. tHey aPPeareD to become immerseD in tHe music, cHannelling tHe emotions of tHe comPosition tHrougH tHeir boDy anD create a Visual rePresentation of tHe aural qualities of tHe sounDs. music can eVoke an intense emotional resPonse in Human beings anD it is tHis asPect of sounD tHat tHe Dissertation Has attemPteD to instil in an arcHitectural form. in orDer to translate tHe auDio into Visual, cymatics stuDies became a tool to question wHetHer sounD coulD be useD to generate form in tHe arcHitectural Design Process. tHrougHout tHe Dissertation tHe researcH was intenDeD to consiDer How one coulD rePlicate music’s immersiVe qualities to create an immersiVe arcHitecture tHat iDentifies witH users on an emotional leVel.

tHe researcH into cymatics, esPecially in Dr jenny’s scientific aDaPtation to tHe exPeriment, enableD an unDerstanDing of How sonic Vibrations can be renDereD as a Visual form. a simPle exPeriment tHat inVolVes running a frequency tHrougH a Plate excites tHe substance to sHift from tHeir stationary Position into one tHat is DictateD by tHe sounDs tHemselVes. His works Has insPireD tHe formation of my own set of exPeriments witH tHe use of a non-newtonian fluiD tHat transforms from a liquiD solution into tHree-Dimensional sHaPes wHen subjecteD to frequency. tHe Design

intenDeD to caPture tHis moment as a Permanent form in tHe arcHitectural structure, unlike tHe temPorary state of tHe solution tHat Discontinues wHen tHe frequency is remoVeD. in keePing witH tHe morPHing beHaViour, tHe imPlementation of resonating facaDes was ProPoseD to create tHe illusion tHat tHe form is sHifting, rePlicating otHer ‘moments’ in tHe exPeriment.

wHat was DiscoVereD During tHese exPeriments was tHe similar beHaViour of tHe solution anD musician’s boDy wHen unDer tHe influence of frequency, eacH aPPears to lose control falling into a trance tHat DisaPPears wHen tHe source is remoVeD. tHe form DeriVeD from cymatics is a Perfect rePresentation of auDio qualities for tHe creation of an immersiVe arcHitecture. for tHis reason, i belieVe tHat it can be integrateD in tHe arcHitectural Process to generate form tHat is reflectiVe of tHis nature. wHat was DiscoVereD During tHe exPeriments was tHe unlimiteD formation of unique cymatics sHaPes tHat coulD HaVe been Potentially useD; as a result a fusion of tHe Various sHaPes formeD tHe oVerall structure. for future Projects tHe use of Precise tecHnology coulD be imPlementeD to recorD tHe Various sHaPes, HigHligHting tHe common Pattern tHat rePeateDly emerge. tHis common Pattern woulD become tHe sonic imPrint of its ‘true’ nature tHat can be useD as an arcHitectural form.

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cymatics exPeriments generate a multisensory PercePtion of reality, merging auDio witH Visual to create an enVironment tHat resembles an artificial form of synaestHesia. it is tHis relationsHiP tHat was useD to create a transition of cymatics from tHe external to tHe internal, generating a synestHetic enVironment tHat woulD Place tHe users ‘insiDe’ a cymatics exPeriment anD not merely obserVe but also interact witH it. tHis interaction coulD not HaVe been simulateD witHout first DelVing into tHe minDs of synetHetHes anD begin to unDerstanD Visualise tHeir obserVations, Drawing uPon tHe metHoDs of steen anD messiaen. altHougH tHeir metHoDs Differ in rePresentation, at its core tHey botH intenDeD to engage otHers into tHe minD of synestHetes. tHis imPacteD on tHe way in wHicH users sHoulD journey tHrougH tHe builDing in a sPecific anD orDereD way. tHe works of tHe synestHetes ProViDeD a metHoD of creating tHe internal Plans anD tHe iDea of tHe builDing becoming a journey to exPerience a first HanD exPerience of tHis PercePtion. eacH of tHe synestHetes metHoDs coulD HaVe been DeVeloPeD to form a creatiVity room in wHicH users are taugHt to interPret anD exPress tHeir surrounDings in a synestHetic way. tHis coulD HaVe strengtHeneD tHe synestHetic exPerience in tHe immersiVe arcHitecture for future exPansions. HoweVer for tHis Project, in keePing witH tHe meDitatiVe asPect

of inDucing a sPiritual synestHetic exPerience from botH feng sHui anD walsH’s researcH, tHere was an intention to keeP tHe exPerience tHat was formeD to be of one tHat grew from one’s emotions of being in tHat sPace witH tHeir own way of interPreting tHe effects of tHe outcome. tHis exPerience was acHieVeD by tHe use of water as a main feature in most of tHe internal sPaces. unifying botH our auDio anD Visual PercePtion, it Plays an imPortant role in feng sHui anD cymatics exPeriments. tHe PrinciPles of feng sHui belieVe tHat its flow carries sPiritual cH’i bringing life, it was imPlementeD into tHe Design to obserVe a way of Visualising tHe orDer of sPiritual energy, like sounD it is an inVisible entity. from tHe researcH tHe Design aDoPteD tHis element by utilising its flow to form a guiDe for users to journey tHrougH tHe builDing from tHe Different sPaces. tHe use of tHis meDium Has been successful in eVoking tHe meDitatiVe enVironment to inDuce tHe synestHetic exPerience; to fully embrace its natural flow tHe Design coulD DeVeloP a series of walkways tHat connect aDDitional rooms in a meanDering yet orDereD system. neVertHeless tHe nature of its Presence remains effectiVe anD balanceD to eVoke Harmony anD balance in tHe emotions of its users.

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tHe internal sPaces merely ProViDeD a Platform in wHicH, like tHe Plate in tHe cymatics exPeriment, acteD as a meDium to DisPlay tHe exPerience. tHe sPaces intenDs to connect emotionally to tHe user to iDentify tHem witH PerceiVing sPace in an altereD manner, similar to How one can be influenceD by tHe sounDs of music. walsH (2005) states tHat meDitatiVe enVironments can awaken tHe synaestHesia tHat is belieVeD to be inHerent in all of us. tHese conDitions translateD into tHe form of tHree internal sPaces, water immersion, anecHoic cHamber anD a cymatics Pool room. altHougH tHe Poolroom DiD not function as a form of sensory DePriVation, its functionality focuseD more on tHe tuning asPect of a meDitatiVe Process. tHe minD anD boDy woulD become immerseD in a musical symPHony of backgrounD noises tHat were Directly cHannelleD into tHe sPace from tHe sonic eVents occurring aboVe grounD. tHese sonic eVents woulD become unifieD witH a similar tone, as DiscoVereD in tHe cage-xenakis Design exercise, wHat aPPears as backgrounD noise coulD actually be musical. tHe intention was to ProViDe an exPerience witH a location aurally, remoVeD from any Visual associations, witHout tHis comPonent users woulD naturally rely on tHe otHer senses, creating eVentually a HeigHteneD use of otHer sensory PercePtions. tHe intent of tHe similar tone woulD resonant at tHe recommenDeD

frequency of 9000 Hertz to suPPly Vital energies for tHe brain to stimulate it. altHougH tHe ProPosal for a sPace witH tHese imPlementations woulD inDeeD encourage users to interact anD tune witH tHe surrounDings Via otHer means, tHe eVer-cHanging sonic eVents occurring aboVe grounD coulD make it Very Difficult to constantly alter tHe tone to matcH tHe fluctuating noise reaDings. in keePing witH tHe concePt of tHis iDea of being tuneD, tHe oPerators of tHe builDing coulD Pre-recorD tHe eVents anD subject users to tHe sounDs of Particular Days. tHis will form an interesting concert sPace tHat coulD Play sPecific sonic eVents from its comPletion Day to tHe Present tHat woulD still in effect configure backgrounD noise into music. tHis extension will bring forwarD tHe otHer researcH areas sucH as tHe PHiliPs PaVilion anD tHe golDen ratio to strengtHen tHe link into tHe Design.

tHe creation of an immersiVe arcHitecture is one tHat sHoulD concentrate on eVoking a trans-sensory exPerience of sounD tHrougH intertwining tHe qualities of tHe Visual aestHetics of cymatics anD tHe exPeriential ProPerties of synaestHesia. it is tHrougH tHe fusion of botH PrinciPles tHat is key for one to begin to rePlicate tHe immersiVe qualities of music.

5

B I B L I O G R A P H YBalfoort, D.J., (1979). Anthonius Stradivarius. Sidgwick and Jackson: London

Biancolli, L., (1975). The Mozart Handbook: A guide to the man and his music. Connecticut: Greenwood Press, Publishers.

Blesser, B, & Salter, L., (2007). Spaces Speak, are you listening? Massachusetts Institute of Technology: EnglandBudd, M., (1985). Music and the emotions: the philosophical theories. Routledge Inc: London

Cobrusier, L., (2004). The Modulor: A Harmonious Measure to the Human Scale, Universally Applicable to Architecture and Mechanics, Volume 1. Translated from French by Peter de Francia and Anna Bostock. Basel: Berlin

Cage, J., (1961) 45’ for a Speaker,” in Silence: Lectures and Writings. Middleton.: Wesleyan University Press

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Cytomic, R. & Eagleman, D., (2009) Wednesday is Indigo Blue: Discovering the Brain of Synesthesia. MIT Press: United States of America.

Darby, P., (2007). The Feng Shui Doctor Ancient skills for modern living. United Kingdom: Duncan Baird Publishers.

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Faber, T., (2005). Stradivarius: one cello, five violins and a genius. London: Pan Macmillian Ltd.Skinner, S., 2001. Feng Shui, Bath: Parragon.

Hill, W, H. Hill, A, F. & Hill, A, E., (1973). Antonio Stadivari: His life and work (1644-1737). Untied States of America: Dover Publications, Inc. (Images)

Gann, K., (2010). No such thing as silence: John Cage’s 4’33”. New Haven: Yale University Press

Jenny, H., (1967). Cymatics: The structure and dynamics of waves and vibrations. Switzerland: Basilius Presse A G, Basel.

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Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing. Leach, N., (1999). The anaesthetics of architecture. Cambridge: MIT Press.

Labelle, B., (2006). Background Noise: Perspectives on Sound Art. The Continuum International Publshing Group inc: New York.

Lip, Dr E., 1995. Feng Shui Environments of power: a study of Chinese architecture. London: Academy Group LTD

Lurai A.R., (1968). The mind of a Mnemonist. New York: Basic Books.

Martin, E., (1994). Architecture as a translation of music. New York: Princeton Architectural Press.

Marks, H, F., (1921). The Sonata, Its Form and Meaning as Exemplifed in the Piano Sonatas by Mozart.William Reeves: London

Nicholls, D., (2002). The Cambridge Companion to John Cage. United Kingdom: Cambridge University Press

Nicholls, D., (2007). John Cage. United States of America: University of Illinois Press

Nymna, M., (1974) Experimental music: Cage and Beyond. New York: Schirmer Books

Prtichett, J., (1993). The music of John Cages. United Kingdom: Cambridge University Press

Revill, D.,(1992). The Roaring silence: John Cage; A Life. New York: Arcade, 1992

Rossbach, S., 1983. Feng Shui: Ancient wisdom for the most beneficial way to place and arrange furniture, rooms and buildings. United States of America: Hutchinson & C0. (Publishers) Ltd

Rossbach, S., 1983. Feng Shui. United States of America: Hutchinson Publishing Group

Rosselli, J., (1998). The life of Mozart. United Kingdom: Cambridge University Press.

Rouget, Gilbert. 1985 Music and Trance: A Theory of the Relations between Music and Possession Tr. From French by Brunhilde Biebuyck. Chicago and London: U. of Chicago Press.

Samuel, C., (1994). Olivier Messiaen: Music and Color: Conversation with Claude Samuel. England: Amadeus Press.

Strafford, W., (1991). The Mozart Myths: A critical reassessment. United States of America: Stanford University Press.

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Ward, J., (2008). The frog who croaked blue. London: Routledge

Wong E., (1996). Feng-shui : the ancient wisdom of harmonious living for modern times. London: Shambhala.

Journals

Cooper, T., 1993. From consciousness to technology: cymatics, wave periodicity, and communication, Integrative Explorations journal. [pdf] Available at: http://www.gebser.org/publications/IntegrativeExplorationFiles/Cooper.Consciousness.pdf

Day, S. (2007). Types of synesthesia. In Synesthesia. Retrieved July 28,2008, from http://home.comcast.net/!sean.day/html/types.htm

Dixon, M. J., Smilek, D., & Merikle, P. (2004). Not all synesthetes arecreated equal: Projector versus associator synesthetes. Cognitive, Affective & Behavioral Neuroscience, 4, 335–343.

Kartomi, Margaret J. (1973). “Music and Trance in Central Java.” Ethnomusicology 17: 163-20

King, A., (2004). How Stradivari positioned the F-holes. [pdf] Available at: http://www.fiddleheadstrings.com/microsoft_word___for_the_strad_part_2_8_sept.pdf

Lip, E., (1995). Feng shui : environments of power : a study of Chinese architecture. London: Academy Editions.

Luria, A. R., (1968). The Mind of a Mnemonist. New York: Basic Book.

Markopoulos, Gregory: Beyond Audio Visual Space. A Short Study of the Films of Mary Ellen Bute, in: Vision. A Journal of Film Comment, New York, Vol.1, No.2, Summer 1962, pp.52-54.

Matossian, M., (1990). Xenakis. London: Kahn & Averill.

Marks, L. E. (1974). On associations of light and sound: The mediation of brightness, pitch, and loudness. American Journal of Psychology, 87, 173–188.

Meyer, L, B., (1956). Emotion and meaning in music. London: University of Chicago Press.

Pilch, J, J., (2004). Music and Trance. Musical Therapy Today, 2, pp.1-18.

Putz., J., (1995). The Golden Section and the Piano Sonatas. Mathematics Magazines, 68(4.), pp. 275-282.

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Ramachandran, V.S., & Hubbard, E. M. (2003). Hearing colors, tasting shapes. Scientific American, April, 52-59.

Samuel (1994) - Olivier Messiaen: Music and Color: Conversation with Claude Samuel) Amadeus Press (15 Jun 1994) England.

Simner, J., Sagiv, N., Mulvenna, C., Tsakanikos, E., Witherby, S., Fraser, C., et al. (2006). Synesthesia: The prevalence of atypical cross-modal experiences. Perception, 35, 1024–1033. Steen, C. J. (2001). Visions shared: A firsthand look into synaesthesia and art. Leonardo, 34, pp.203-208

Volk, J., (2001). Cymatics: Insights into the invisible world of sound. Caduceus, 71, pp.12-16.

Volk, J., (2002). Sound Insights. Kindred Spring Magazine, 60, pp.14-17.

Volk, J., (2010). From vibration to manifestation: Assuming our rightful place in creation. Quester Journal, 92, pp.1-13.

Walsh, R (2005. Can synaesthesia be cultivated: Indications from surveys of meditators. Journal of Consciousness Studies 12(4-5): 5-17.

Ward, J., Huckstep, B., & Tsakanikos, E. (2006). Sound–color synesthesia: To what extent does it use cross-modal mechanisms common to us all? Cortex, 42, 264–280.

Xenakis, I., (2010). Arts/Sciences: Alloys. Translated from Greek by S. Kanach. New York: Pendragon Press.

Xenakis, I., (2008). Music and Architecture. Translated from Greek by S. Kanach. New York: Pendragon Press

Zubel, J.P., (1969). Sensory Derpivation: fifteen years of research. New York: Meredith Corporation

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Internet Resources

[Online Source]http://www.bbc.co.uk/iplayer/episode/b017z0zx/QI_Series_I_Intelligence/ (cymatics experiment) accessed on 12.11.2011.

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[Online Source]http://www.nytimes.com/1993/11/21/books/l-all-mixed-up-566993.html accessed on 01.12.2011.

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[Online Source]http://www.royalalberthall.com/about/history-and-archives/timeline-detail.aspxaccessed on 07.12.2011.

[Online Source]http://www.americanscientist.org/issues/pub/did-mozart-use-the-golden-sectionMike May (no date)

[Online Source]http://science.discovery.com/tv/senses-collide/steen/steen.html accessed on 09.12.2011.

[Online Source]http://www.cymaticsource.com/articles/a2-article.html accessed on 29.12.2011.

[Online Source]http://www.gurdian.co.uk/news/2001/feb/05/guardianobituaries accessed on 04.01.2011.

[Online Source]http://www.bbc.co.uk/iplayer/episode/b00j3w8k/Sound_Architecture_The_Spaces_That_Speak accessed on 29.12.2011.

[Online Source]http://www.bbc.co.uk/iplayer/episode/b00j3w8k/Sound_Architecture_The_Spaces_That_Speak accessed on 04.01.2011.

[Online Source] http://cymatica.com/2009/10/29/cymatics-for-your-right-and-left-brain accessed on 29.12.2011.122

[Online Source] http://cymatica.com/2009/10/29/cymatics-for-your-right-and-left-brain accessed on 20.03.2012.

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.

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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

Lautewasser, A., 2006. Water Sound Images. United States of America: Macromedia Publishing. Leach, N., (1999). The anaesthetics of architecture. Cambridge: MIT Press.

Labelle, B., (2006). Background Noise: Perspectives on Sound Art. The Continuum International Publshing Group inc: New York.

Lip, Dr E., 1995. Feng Shui Environments of power: a study of Chinese architecture. London: Academy Group LTD

Lurai A.R., (1968). The mind of a Mnemonist. New York: Basic Books.

Martin, E., (1994). Architecture as a translation of music. New York: Princeton Architectural Press.

Marks, H, F., (1921). The Sonata, Its Form and Meaning as Exemplifed in the Piano Sonatas by Mozart.William Reeves: London

Nicholls, D., (2002). The Cambridge Companion to John Cage. United Kingdom: Cambridge University Press

Nicholls, D., (2007). John Cage. United States of America: University of Illinois Press

Nymna, M., (1974) Experimental music: Cage and Beyond. New York: Schirmer Books

Prtichett, J., (1993). The music of John Cages. United Kingdom: Cambridge University Press

Revill, D.,(1992). The Roaring silence: John Cage; A Life. New York: Arcade, 1992

Rossbach, S., 1983. Feng Shui: Ancient wisdom for the most beneficial way to place and arrange furniture, rooms and buildings. United States of America: Hutchinson & C0. (Publishers) Ltd

Rossbach, S., 1983. Feng Shui. United States of America: Hutchinson Publishing Group

Rosselli, J., (1998). The life of Mozart. United Kingdom: Cambridge University Press.

Rouget, Gilbert. 1985 Music and Trance: A Theory of the Relations between Music and Possession Tr. From French by Brunhilde Biebuyck. Chicago and London: U. of Chicago Press.

Samuel, C., (1994). Olivier Messiaen: Music and Color: Conversation with Claude Samuel. England: Amadeus Press.

Strafford, W., (1991). The Mozart Myths: A critical reassessment. United States of America: Stanford University Press.

Xenakis, I., (2010). Arts/Sciences: Alloys. Translated from Greek by S. Kanach. New York: Pendragon Press.125

Ward, J., (2008). The frog who croaked blue. London: Routledge

Wong E., (1996). Feng-shui : the ancient wisdom of harmonious living for modern times. London: Shambhala.

Journals

Cooper, T., 1993. From consciousness to technology: cymatics, wave periodicity, and communication, Integrative Explorations journal. [pdf] Available at: http://www.gebser.org/publications/IntegrativeExplorationFiles/Cooper.Consciousness.pdf

Day, S. (2007). Types of synesthesia. In Synesthesia. Retrieved July 28,2008, from http://home.comcast.net/!sean.day/html/types.htm

Dixon, M. J., Smilek, D., & Merikle, P. (2004). Not all synesthetes arecreated equal: Projector versus associator synesthetes. Cognitive, Affective & Behavioral Neuroscience, 4, 335–343.

Kartomi, Margaret J. (1973). “Music and Trance in Central Java.” Ethnomusicology 17: 163-20

King, A., (2004). How Stradivari positioned the F-holes. [pdf] Available at: http://www.fiddleheadstrings.com/microsoft_word___for_the_strad_part_2_8_sept.pdf

Lip, E., (1995). Feng shui : environments of power : a study of Chinese architecture. London: Academy Editions.

Luria, A. R., (1968). The Mind of a Mnemonist. New York: Basic Book.

Markopoulos, Gregory: Beyond Audio Visual Space. A Short Study of the Films of Mary Ellen Bute, in: Vision. A Journal of Film Comment, New York, Vol.1, No.2, Summer 1962, pp.52-54.

Matossian, M., (1990). Xenakis. London: Kahn & Averill.

Marks, L. E. (1974). On associations of light and sound: The mediation of brightness, pitch, and loudness. American Journal of Psychology, 87, 173–188.

Meyer, L, B., (1956). Emotion and meaning in music. London: University of Chicago Press.

Pilch, J, J., (2004). Music and Trance. Musical Therapy Today, 2, pp.1-18.

Putz., J., (1995). The Golden Section and the Piano Sonatas. Mathematics Magazines, 68(4.), pp. 275-282.

126