extreme ii ikmal ikram ariffin - week 3 - task 2 - week 3 presentations

EXTREME IIEXTREME II

IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092 SIALSIAL

Non Newtonian Fluids Part IOobleck

Resistance

Change of state

The experiment did not go as planned. The oo-bleck did not transform. This is due to the low volume of the vibra on from the speaker. The experiment seems that it will only work under a high volume vibra on (loudspeaker).

The experiment to be done is similar to diagrams below. Although the experiment done below is using a single note freequency. I am trying to pursue the no on that songs similar to architec-ture have its own Structures and Systems.

I will be conduc ng these experimenta on with the idea that with di erent sounds (genre of music) a di ferent mo on of expression will be expressed through the Oobleck.



Chladni Pa erns Part IResearch - Frequency Vibra ons

Ernst Chladni gures for a square steel plate (adapted from Waller 1961) demonstrates the fantas c variety of standing wave pa erns that can arise from a simple resona ng system. A square steel plate is clamped at its midpoint and sprinkled with sand. It is then set into vibra on either by bowing with a violin bow, or by pressing dry ice against it. The resultant standing wave pa erns are revealed by the sand, that collects at the nodes of the oscilla on where the vibra on is minimal.



Research - Frequency Varia onsDi erences in wavelenghts

Coldplay - Viva la vida

Radiohead - Jigsaw falling into place

Feist - I feel it all

Style of eye - Psalm

John Lennon - Imagine



A transla on from Sounds to ArchitectureTuned City presents ar s c work and theore cal approaches de-rived from a cri cal preoccupa- on with sound in the context of urban and architectonic situa ons and their socio-poli cal implica- ons. Invited par cipants re ect in their work on the aesthe c, ethical and poli cal dimensions of sound art projects and demon-strate the poten al in using exist-ing architectures in new ways or designing new spaces. Tuned City extends current discourses on ur-ban development and planning from the perspec ve of ar s c sound produc on.

The rela onship between music and architecture is a classical one. Too classical for our mes, may be the thought of many contemporary architects. But that is not our view; UNStudio likes classical with a twist The theme of the acous c space, explored for its drama c poten al by Le Corbusier and Xenakis is s ll to us a topic of fascina on and incredible poten al today. And since the MUMUTH theatre belongs to the University of Graz and is therefore a place where young musicians receive their instruc on in the performing and musical arts, it seems to us even more appropriate to let the ar-chitecture communicate that this is a building in which music lives.

Music Terms / De ni ons for this page:

Sta : A sta of music is made up of ve horizontal lines and four spaces. Each line and space represents a key on the piano. Notes and rests are then placed on the sta .

Clef: A clef is a symbol at the beginning of a sta of music which makes it possible for the player to work out what the notes are. It indicates the pitch of the notes on that sta to be played. The two most common clefs are the Treble Clef and Bass Clef.

Measure: Sheet music is divided into Measures. Each individual Measure lasts for the same me dura on, and can consist of a combina on of notes and rests. A measure ends where a ver cal bar line goes through the sta (horizontal lines) on sheet music.

Note: A note is represented by a sign which tells the musician the dura on and pitch of a sound.

Pitch: The speci c frequency of a sound. Notes to the right of the keyboard have a higher pitch than the notes to the le .

Time Signature: The me signature, also known as a meter, tells the musician how many notes are in a measure.

Beat: A beat is the name for a unit of music. Musicians learn to count beats, and play notes for the speci ed number of beats. Some use a metro-nome, this device counts out beats, and will ck according to which ming you have set. Coun ng beats starts when the rst note is played.

Breakdown



Experience Music Project by Frank GehryExperience Architecture unites narra ve con-tent and media technology to o er a dynamic new approach to the built environment. This design orienta on focuses on the guest ex-perience, and highlights the poten al for ar-chitects to integrate media, informa on, and other forms of content into their building vocabulary. Its in uencing a wide range of commercial and cultural building types, from retail and brand environments to museums, libraries, and civic spaces across the country. Experience Architecture is not a style, but rather an emerging set of design values that confront architects with issues of substance, and the ability of their work to express ideas and emo ons.

In fact he was by sculpturing the EMP Experience Music Project only 3 years later on the northern edge of downtown Sea le. This area is s ll dominated by the Needle, the gothic structures of Yamasaki and a mono-rail da ng back to the World Exhibi on held in 1962. Besides these landmarks Fun Forest, a planetarium and I-max cinemas dominates this entertainment quarter of the city where the youth might also be ready for a crea ve intermezzo with American popular music exempli ed by Rock n Roll.

Another inspira on for the EMP building might be the concept of Rockn Roll and not least the electric guitar Hendrix crushed during a concert at the Saville Theatre in London on June 4th 1967. It is evident that the main parts of the music building t together like parts belonging to a former in common. On the eastern side of the EMP bluish and greenish scales are added to the overall complexity of the exterior looking like a switchback. Even the monorail separa ng the upper part of the EMP in two is welcomed by Gehry for creat-ing a sort of canyon leading to other improvisa on for the interiors.Most convincing by the EMP is the smoothing out of the tradi onal di erence between roof and facades while giving way to protec ng the entrance parts by hangouts. The bright colours and so surfaces are re- ec ng the daylight in a most invi ng way while providing the young visitors opportunity to mirror them-selves. While all the me discovering mo ves in the expressive forms like the helmet of Darth Vader over the main entrance. All together the EMP shows poten als for an architectural crossover in providing clima c protec on while housing all sorts of func ons and spaces inside.

A transla on from Sounds to Architecture



Experimenta ons - Frequency to Form

Moody Blues - Whiter Shade of Pale

Pa ern forma on with change of Frequency Pa ern nding then transforma on Jigsaw Falling into Place Op mum Frequency for transforma on

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extreme ii ikmal ikram ariffin - week 3 - task 2 - week 3 presentations

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