intimate cortege thesis document

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Intimate Cortege sound and architecture

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The intimate sensation and translation of sound Masters Project by :

Juan Felipe Sanchez

University of South Florida School of Architecture and Community Design.

Sound Sound has many characteristics: therefore, re-lated to architecture and its context, it possess-es the ability to influence the human perception in an unconscious manner. The combination of sound and architecture can take a one’s mind to another place for this to happen one has to undergo an intuitive translation of sound and imaginative surge of sound.

Fred Rush, On Architecture, Thinking in Action (New York: Routledge, 2004).

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Spatial sensation is experienced when sound travels along an abstract three-dimen-sional line. Nevertheless it is not a space all the boundaries of which can be experi-enced at once (static space) nor is it a space the boundaries of which change within a certain pattern (“dynamic, fluid space”). It is a space which is created and which fades away at the same time, proportion by proportion with the developement of sound in time.

Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).

Finding the tune of space

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Commitee

Robert MacLeod Faculty Chair

Lavent Kara Faculty coChair

Steve Cooke Faculty Advisor

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I would like to thank all my colleagues at the University for their support throughout the years. I retain a feeling of gratitude for the outstanding education provided to me at the University of South Florida. The incredible learning experience has proven to be an exceptional challenge for the mind body and soul wich has enrich me with broad knowledge and wisdom.I would like to thank Fernando Delgado and Robert Macleod for being such incredible mentors throughout my education here at the University, and to all that I have worked so closely for so many years.

I want to deeply thank with immense love and appreciation for the sup-port given to me outside the university to Nicolas Herrera and Maria Elena Herrera. Last, but not least, I would like to thank Laura Herrera for her understanding and love during the past few years. Her support and encour-agement was what made this thesis possible.

I would like to dedicate this book to my Brothers Daniel, Andres my Sister Angelica and my nephews Camilo and Daniel F. Especially to my parents, Hernan and Esmeralda, receive my deepest gratitude and love for their dedication and the many years of support during my education that pro-vided the foundation for this work.

Acknowledgements

Dedication

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Special Thanks

Steve Cooke Beverly Frank Cecilia Guardia Shannon Basset Miachel Halflants Dan Powers Martin Gunderson, Jr. Lavent Kara Bob Hudson

Dimitar Dimitrov Jonathan TottesJuan Angel Fedyk Sobieslaw and Friends

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Contents

Intimate Traslation of Sound

Commitee

Acknowledgements

Abstract Proposal

Introduction

Field Studies

Presedent Study

Soundscape Phenomenology

Movie

The Parts

The Plan

Sound Surface

Midpoint Sequence

Section Detail

Illustration

Concluding Statement

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Abstract Proposal

When one moves through space, one leaves a trace of a sound. The sound translates in an omni-direction that reverberates against the walls of an alley way, bouncing back to one’s ears making us aware of the space. With the hear-ing sense, we strike the boundaries of space the ability to measure space and make it comprehensive in terms of scale. The ability to hear creates a sense of connection and solidarity; it links us to the surrounding space.

On acoustic intimacy, Juhani Pallasmaa writes “Our cities have lost their echo altogether, the wide, open spaces of contemporary streets do not return the sound”. Juhani Pallasmaa, The Eyes of the Skin Architecture and Senses (Chichester, Eng-land; John Wiley and Sons, 2005) page 49. Within the last century, cities, the media and even school systems have manipulated the auditory sense and made the visual sense dominant ; consequently auditory sense is under educated and underdeveloped.

Cities and architecture should be an auditory experience, creating a way to connect back with one’s senses. Understanding sound is a vital factor and one should develop the sense in order to perform a more fluent and sound design.

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Is created when an object vibrates, vibra-tions perceived by the ears are sent to the brain. The brain analyzes these sig-nals and lets us know what sound we hear.

“Elements of Music - The Basic Elements of Music.” May 2012

Sound

| 17Sound Ilustration of Barcelona’s Botanical Gardens

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It is true! Architec-ture acts as an instru-ment of communica-tion which activate the senses; therefore, senses are the au-dience of the sym-phony. Light, Space, Sound and Time form the melody which de-lights us.

Sound + Vision

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Sound and vision collage based on an urban center

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“I turn to Light, the giver of all presence’s. By will. By law. You can say to the light, the giver of all presence’s, is the maker of a material and the material was made to cast a shadow, and the shadow belongs to the light.”

Louis Kahn

Collage of lights and sounds of the streets

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Sound+Light.The importance of sound and space is the effect that both has on a human perception. Although light is the dominant raw mate-rial, sound+light without world there would yield no effect. Visual impact that light has on human perception is remark-ably similar to the sound impact on one’s brain; Therefore, sound and light are communicative elements architecture.

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Experimentation with light, color, and sound permitted the emergence of architecture, controlling the sensations and perceptions on onlook-ers. Also, we all posses a tactile sense for experience and understand-ing of the world. However, the very essence of the lived experience modulated by hapticity and peripheral unfocused vision in lived expe-riences.

Eiler Rasmussen Steen, Experiencing Architecture. (Cambridge, MA. M.I.T. Press, 1962).

| 23Collage of surface altered by the force of sound.

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True Synaesthesia is where one experience sensations of what would ordinarily be considered different sensory modalities as inherently conjoint

Lights on space create a pattern based on sound.

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Sound + Space

Phenomenological point of Space and Sound. One might sugest that bodily rythm is affected by change of perspectival line, parallax vision, the hue of color on walls, the feel of building material and the play of shadow and light at different times of the day. in a way is similar to the impact of melody, thematic alteration, tonality, and the “color” of instrumentation in music

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Sound + Layer .

The Procession of sound as one moves through space and time leaving a trace of faded vibrations, vibrations enhance one’s experi-ence throughout architecture. Ex-perience must take one beyond the form or looks of a building, past its design and even superseding the reference that buildings have to one another.

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Layers of collage reacts to different exposures of sound.

The progressional layers of sound manipulates shapes and colors.

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Field Studies

| 29Repetition of sound brushes

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Procession of Sound space and time has many characteristics in terms of architecture and its context, it possesses the power to influence the human perception in an unconscious manner. The combination of sound and architecture can take one’s mind to another place. For this to hap-pen, one has to experience an intuitive transla-tion of sound and imaginative leap of sound. During my research, I have traveled to different places and concluded a series of studies which consist of translating sounds into graphic rep-resentations of strategic public and private spaces. I have categorized these places into three types; The sounds of a city, music inside architecture and sound/noise in open spaces.

Graphic of sound

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Sound of steps over gravel in Amsterdam‘s museumplein

Amsterdam’s street red sound activity

Water sound and movement in Amstel Channel, Amsterdam

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Urban public space Klaus Library, Barcelona.

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The project is more about experi-mentation and speculation rather than conformation. The intention is to generate a series of graphic representations from sound. The graphics produce certain emotions or reactions. Finally, the graphic studies of sound and music com-posed in a manner that will inform a set of architectural concepts and the design of architectural spaces.

Brush of sound

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The sounds of a city have a strong influence upon the mind of the citizen. Its poetics can be rhythmic, chaotic, relaxing, violent and so forth, depending on the diversity of sound vibrations and the time and the mo-dality of the city. Each element of the city has its own rules and application, but in real-ity, it is their mutual interaction that delight the senses and give rise to a new perceptual dimension. To discover a new state of mind within the city context, one might speculate that the effect sound and space has on hu-man perception is less prominent than light. However, sound and light without space would have no effect ; consequently, sound and space are the instrument to transport one another place in one’s mind.

Superimposed sound

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Caixa Forum enclosed sound study, Madrid.

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“Good Architecture is like a piece of beautifully composed music crystallized in space that elevates our spirits beyond the limitation of time.”

Tao Ho.

I believe music is a universal language as is architecture. One can say that these two disciplines have a positive impact in one’s mind when joined with poetics. The poetics of Music and Architecture are remarkably similar. Songs can take your breath away as does a magnificent space. When composing music and designing architecture, one strives to produce emotions. The following is an relevant quote which has informed my work.

Music and Architecture

Intertwining sounds of Richard Mier museum contemporary art, Barcelona

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PrecedentStudy BernhardLeitner

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SoundSpaceBernhardLeitner

Spatial sensation is experienced when sound travels along an ab-stract three-dimensional line. Nevertheless it is not a space all the boundaries of which can be experienced at once (static space) nor is it a space the boundaries of which change within a certain pattern (“dynamic, fluid space”). It is a space which is created and which fades away at the same time, proportion by proportion, with the development of sound in time. A line of sound can never be static. Lines of sound are the result of a continuous movement of sound. This is a new not yet evaluated, very complex way to create space.


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Sound Cube 1980/81420x420x360 cm

Study of the trnaslation of sound within a cube. Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).

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The Building material for sound architecture.

A number of loudspeakers are distributed in such a way that the sound traveling between the speakers define the abstract line. This line will delimit the planned space. Sound is the ma-terial for both defining space in its dimensions as well as de-termining its character: architecture which has its possibilities and limitations in the laws and principles of the world of sound.


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The motion of soundOne is tempted to associate a musical composition with the word “sound”. In the context of space- through-moving sound, “sound” is an acoustical stimu-lus comparable to the visual stimulus which allows spatial perception. It has been demonstrated by Bernhard Leitner that spatial sensation is expe-rienced when sound travels along an abstract three-dimensional line. Ber-nhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998). page 44.

Changing the speed Changing the timbre Intensity Low intensity= invisible boundary High intensity= a noisy volume like a solid wall changing the intensityThe listener reacts as planned not by chance.Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998). page 45

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Repetition: The only way to experience the same space over a longer period of time is to repeat it. For example, recognizing the space or waiting for the space.Rhythm In the sequence of spaces which are themselves created through lines of sound. Pause The duration of an interruption in the development space. The-oretically this interruption is a “spaceless” situation.

Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).page 45.

Sound Tube 197340 loudspeakers Studies for the sound tube . Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).

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Electronic sound, noise, human voice and language, as wellas conventional instruments, are the tools to express, define, and build sound architecture.The importance of the acoustical en-vironment is such that the ear should be able to measure it to experience it consciously- but the ear it self is under developed.Neurophysiological experiments have proven that acoustics are the critical lever for changing the level of brain activity. Specific musical elements produce specific unconscious nervous reactions. Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).page 47.


Metal waves 19986 metal sheets 125x250 cm

Corridor architecture Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag,

Acoustical changes influence space perception.The influence of acoustics on bal-ance and orientation. The control of psychological variables(muscle stress, brain activity) -Biopsychological experiments -Fast transformations of a narrow space into a wide one and vice versa.

-Stimulation of street experience.

-Crowding versus openness.

-Space created through traveling sound for medical purposes.

-Acoustical space perception. -Sound Architecture as therapy- spaces for relaxation.

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Le Cylindre Sonore.

Sound spaces in free landscape.nature intervenes in the composition.

A complex tissue drifts in space,moving almost unnoticed.

The wind pick up the sounds that have been blown around electronically, blowing them further in its directions.While around the cylinder, it produces

its own sound space in the bamboo leaves.

Deep , bowed sounds roll in space in the oppressive , muggy heat. In this thick air they sound different

than in the dry crisp cold. Sound movements change physically,

depending on humidity, air density, temperature, as well as the acoustic sensorium.

The listening body reacts to this changes, to atmosphere, to light and dark.

Early in the morning one hears differently than late at night .

An observation. Piercing, high-pitched sounds are called up in quick succession on all sides.

Birds have populated the densely grown bamboo thicket . surrounding the circular architecture.

They react, they respond to the sound event . With similar tones, in a similar time scale,

they call together their own sound space from all directions. Electronic space is expanded into nature .

Art space and nature space one echoed the other

Poem Le Cylindre Sonore, Parc de la Villette, Paris. Bernhard Leitner Ostfildern and Cantz Verlag, Sound Sapce (New York : Cantz Verlag, 1998).page 161.

| 47Le Cylindre Sonore 1987. Parc de la Villette Paris


Wing space 1996Composition of form and time distribution.


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Trip Photography

All photography played an inspirational role during the development of the project, each of the images shown taken form field empiri-cal studies during the thesis trip. I personally find the images poetic to the context of hu-manity art and architecture.

Antonio Gaudi Park Güell 1900-1914

Guards house window Barcelona , Spain

Richard Mier Museum Contemporary Art

Barcelona , Spain Bicycle

Principal mean of transportation Amsterdam, Netherlands

| 49Royal Palace of AlcazarSevilla, Spain

Antonio Gaudi Park Güell 1900-1914

Aqueduct Barcelona , Spain

Streets of Sevilla Sevilla, Spain

Streets of Sevilla Sevilla, Spain

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Antonio Gaudi Sagrada Familia 1882-

Exit spiral stairs Barcelona , Spain

Public housing 2006 Thom Mayne

Madrid, Spain

Royal Palace of AlcazarBaths of Lady María de Padilla

Sevilla, Spain Caixa Forum

Water and compressed space Madrid, Spain

| 51Bicycle Principal mean of transportation

Amsterdam, Netherlands

Bell Church Spiral stairs


Bell Church Oldest bell hammer

Main Bell Amsterdam, Netherlands

Amsterdam Public Library Niche for reading spaces


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Soundscape Phenomenology The Movie Sequence

Video 2:05 minutes 2.35:1 Color Final Cut

Soundtrack 2:47 minutes Stereo sound Soundbooth http://youtu.be/itoYE-uVeTE

| 53Soundscape PhenomenologyScene Photography 0:20

| 54 Soundscape Phenomenology-Scene Photography 0:35

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Soundscape phenomenology

is the result of the empirical studies I have undertaken. Listening, measuring, veri-fying, making notes on my immediate experience with sound lines and space. The early studies involved the translation of sound into im-age. Due to the subjectivity of inherent in the images, I found it necessary to use media related to sound and video. The use of sound me-dia that I recorded during my travel experiences drives this project. I have composed a sound track with material recorded in several urban and architectural contexts. The video is derived from the composition of sounds that follow the components of sound in four sensorial stages: tranquility, chaos, memory and intimacy.

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Tranquility

The Combination of harmonics and the low intensity of the sound makes the introduction warm and powerful, Then, tranquility is bro-ken by repetition creating an expressive cycle leading to a different place. By superimpos-ing images, a transition begins and creates an understanding of what the “thing” is, leaving comprehension to emerge through perception.

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Soundscape Phenomenology Scene Photography 0:06

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Chaos

In the process of layering complex images along with overtones and loud-ness of sound, the scene takes a turn towards a chaotic character. In this case tranquility en-hances the role of chaos. Midrange frequencies produce an energy that makes one’s acutely sen-sitive to the origin of the sound.

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Memory

A time line to evoke memories in one’s mind. A song that once touched one’s heart with lurid constructed images cre-ated a impression. High frequencies produce a sound pres-ence and life-like quality.

| 61Soundscape Phenomenology Scene Photography 1:32

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Intimacy Intimacy attained with the presence of a sound, suggesting we are close to its origin. Images of reflection create per-sonal moments, sounds and surroundings for contempla-tion to achieve an affinity between the space and the mind.

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CityTextures movie Video 2:20 minutes 2.35:1 Color Final Cut

“Nocturnes, Op. 37/No. 1 In G Minor Soundtrack 2:20 minutes Stereo sound Soundbooth

http://youtu.be/SCukf9WgTdo

| 65Plaza España Sevilla, España

Palau de Musica Barcelona, España

Plaza tirso de molina.Madrid, España

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Urban Sounds movie Video 2:04 minutes 2.35:1 Color Final Cut

Soundtrack Urban sounds 2:04 minutes Stereo Soundbooth

http://youtu.be/iTQPcl7t4tM

| 67Part of section detail Solidarity Space Platform texture

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Inexplicable,lines in space are wondering,

unexpectedlyLines develop an expressive rhythm.

Suddenly a sharp interference appears, obligating the lines to shift.

A radical turn of space occurs undulating and kneading.

An optimist spatial leap taken, interferences intertwining

moving lines resulting into a conclusive space.

Lineation

| 69Studies of sound and linesCollage superimposed with three-dimensional spaces

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The Parts

| 73Figure Collage of the Parts Study of geometry and sound

| 75Acoustical plan study

Procession of Sound

This diagram is an acoustical map which addresses the natural surroundings and the change of materiality in a series of spaces. The soundscape varies as one approaches, the place changes. This involves ground, sky, wind, water. The compression of a space tends to have an influential impact on a person, The com-pression of sound varies with the quality of the surrounding ma-terials.

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The section addresses the impact of the natural sur-roundings and changes on elevation and materiality throughout a series of spaces. The procession takes cycle considering moments of enclosure, openness, compression, release and so forth. It reveals expecta-tions of the soundscape variables as one approach the place.

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“we are not normally aware of the significance of hearing in spatial experience, although sound often provides the temporal continuum in which visual impressions are embedded”

Juhani Pallasmaa

Acoustical Section study

| 78Barcelona

| 79District of Barceloneta

The site

The district of Barceloneta lo-cated on the beach front of Barcelona, historically known to be a fishing village now converted into a middle class residential district. The area has few open spaces, and no civic cultural centers. There is a pedestrian and visual dis-connection in relationship to the water, consequently, cre-ates a separation between the district and the city. In ad-dition, the typical residents from Cataluña abstain exterior activity.

| 80 Collage of the Soundscape Phenomenology in relationship with the site. Studies of the movie imagery with geometry and sound.

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The collage of procession Sound spaces are always led to spatial sensations. As interior spaces, they always with reference the body. During the proj-ect, I worked on sound space, studying the delineation of space by making sound move around, through, under and above the body. Parallel to this, now resulting spatial experiences and spatial concepts were examined. During the past year, soundscape phenomenology was devel-oped from a series of experiments involv-ing sound time and space.

| 82 Scheme 1 Scheme 2

| 83Scheme 3

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The plan became a combination of three schemes following the principles of “Soundscape Phe-nomenology”. Divided into four moments where the individual will encounter several expressions of sound. The procession will have different spaces that impact the occupant’s perception in different manners. The further develop-ment is an acoustically motivated design which takes consideration of the site urban and architectural context.

The plan

| 86 Plan study follows the acoustical procession of the concepts.

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A steel door squeaks. Suddenly the space is alive

with steps on the gravel, calm water gradually changing

the modality of the heart varies, just like the whispers invading the empty space,

but no one listens.

Concrete walls do not listen to what the bodies have to say, but the wooden floor absorb the secrets

and the wind take the words away.why don’t get far, through those boundaries

why waste time on the accumulation of silencemake the sound be heard on the world of emptiness.

Awol Sound

| 88 Model light study of the intervention.

| 89Context Site model study.

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The study of the color of sound in-hered the manipulation of the sound of a digeridoo. Five sound distortions were applied to obtain the maps, of midrange frequencies, sonic destruc-tion, maximum loudness, reduced harshness. The result of the process was a complex three-dimensional surface.

Sound Surface

| 91Early surface study Color of sound study Didgeridoo maps

| 92 Sound surface light study.

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The sound surface analysis yields a three dimensional form, the treatment of the surface makes it a remarkable element can be used for many purposes. The surface can be used to redirect sound in different directions, and to eliminate or amplify sound. Complex treatment of light on the surface, in a more expressive manner.

Three-Dimensional map of sound

Sound surface shadow and texture study.

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The task to carve sound emerged from analyzing the treatment of light on the sound surface. The elevation of the piece exposed to the light generated a series of shading shapes. The shading shapes are traced and carved out to create a standing screen. The caved shading shape now be-comes the opening to filter the light into the space in a more dramatic modality. The material used should posses a reflec-tive sound quality on one layer and an ab-sorptive sound quality in another layer.

Carving Sound

| 95Carved layered screen .

| 96 Form and architecture study model model

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The intervention intends to integrate the beach front and to adjust the residential blocks with green public space . Also, the project gives a more en-gaged communal sensebility to the occupants, in turn, create a rich public environment. The fluid nature of the building and the intentional manipulation of the volumes create an out-door space that is both passive in design and highly consider-ate to Barcelona’s climate.

The site

| 98 Form and architecture study model model

| 100Entry volume

| 102Second gallery

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Three consecutive galleries separated by sectional quali-ties and transparent boundar-ies linked through the ground changing platform. The first gallery uses perforated planes and sound reflective materi-als. The second gallery uses sound absorptive materials and stepped sequence. The third gallery uses the acous-tical quality of compressed planes,perforated planes and inside, outside areas.

Midpoint Sequence

First gallery

Third gallery

| 105Longitudinal Section

| 106Floor plan platform level Barceloneta

| 107Site plan Barceloneta

| 109Cross Section

| 111Section detail

| 112 Section detail

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The section detail

The section detail express-es the structural intent of the project. The opening from top floors allows for natural light and defines the conceptual and poetic relationship between the outside and the interior spaces. The materials pal-let and detailed connec-tions express a rich tectonic quality of the building. Ac-cording to the concept and the needs of the project the use of sound and light has been strategically uti-lized, both the needs of the gallery spaces and provid-ing the necessary views to the exterior connecting the exterior realm with the in-terior of the building.

| 114 Refletion pool and glass detail

| 115Pedestrian way, seating detail of reflection pool .

| 116 View of stepped gallery

| 117View of open space from platform.

| 118 View of cascade

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The renderings assumes the rich-ness and quality of space sor-rounding the exterior portion of the programed public areas. The ground contains reflective pools in sequence with a series of terraced steps, leading the public to experi-ence the water cascade. The paths are well defined and reveal them-selves as a subtle gestures inviting the pedestrian meander in between the buildings from any direction.

Ilustration

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This exploration has given me a greater appreciation of the sensorial aspect of architecture. It has made me explore exercises using the au-ditory sense to shape design I have learned to combine architecture and sound to conform spaces filled with meaningful spirit sensitivity towards poetry, dwelling, social encounters, natural context, spiritual environments, community and urban understanding.

Often, many built public spaces do not address the problem of sound architecture. The procession has been an extremely prominent part of soundscape phenomenology flexible gestures allow different urban activities to occur. Space of sound integrates public realm with senso-rial individuality throughout the procession of the project.

This project changed my perception towards the use of sound and materiality I learned how everything interconnects through the world of humans, animals and nature. The project celebrates and recognizes the interactions with the built environment, nature and the human condition. Sound architecture should evoke the hearts of many to en-hance the spirit, physical and sensorial experience of the space.

Concluding Statement

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References

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Chicago: Sound Sapce - Bernhard Leitner Ostfildern : Cantz ; New York : Distributed by Distributed Art Publishers, c1998.

Chicago: Will Lewis: The Daily Telegraph’s youngest-ever editor, http://www.independent.co.uk/news/media/will-lewis-the-daily-telegraphs-youngestever-editor-426919.html

Chicago: Book Excerpt: Buildings as Total Sensory Experiences, http://www.theatlantic.com/technology/archive/2010/10/book-excerpt-buildings-as- total-sensory-experiences/64110/

Chicago Book Title: Experiencing Architecture. Contributors: Steen Eiler Rasmussen - (author. Publisher: M.I.T. Press. Place of Publication: Cambridge, MA. Publication Year: 1962.)

Juhani Pallasma, The Eyes of the Skin Architecture and Senses (Chichester, England; John Wiley and Sons, 2005)

Fred Rush, On Architecture, Thinking in Action (New York: Routledge, 2004).


Eiler Rasmussen Steen, Experiencing Architecture. (Cambridge, MA. M.I.T. Press, 1962).

Alain de Botton, The Architecture of Happiness, (New York, Vintage International, 2006)

The Architecture of Ludwig Wittgenstein (Hailfax 1974 New York Press, 1975)

Geometry of Sound Reihe Cantz ( Ostfildern 1997)

Sound Architecture- Space created trhough traveling sound (Artforum, New York 1971)

The Poetics of Space, Gaston Bacherald, ( Bosto, Ma Beacon Press,1958)

intimate cortege thesis document

Documents

sound sound

sound travels

developement of sound

combination of sound

intimate cortege sound

intuitive translation

imaginative surge of

sound sapce new york