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sound [space] sound

November 16th, 2008 admin

This project will be manifested in the form of an interactive four channel sound installation. As signals travel through any given medium interference patterns emerge yielding both additive and subtractive summations of the original signals. This project leverages one extreme case of these interference patterns, specifically the occasion where two waves of identical amplitude and opposite phase collide, resulting in a the negation of both signals. In the medium of sound, this negation results in silence.

Audible sine tones below a frequency of 400 Hz will be projected into the defined space of this installation. The foot print of the installation will span 100 square feet marked by a loud-speaker located at each corner of the space. The loud-speakers will be oriented at a 45 degree angle, focusing their output towards the exact center of the space.

This project is designed to accommodate a single user, although spectators will be able to observe the installation from outside of the defined boundary. As the user enters the space, they will be exposed to the sine tones being projected by the speakers. Invisible to the user, a tracking system will be monitoring the exact location of the participant within the defined volume. At an arbitrary moment, the synthesizer controlling the speaker output will modify the frequency-set and the individual polarities of the signals in-order to deliberately create an instance of phase cancellation at the exact location where the user is standing. This location will be further marked by a projection on the floor surface of the volume. The overall effect from the users perspective will be experienced in the form of a sudden drop in volume (in an ideal case silence) along with a visible boundary marking the exact location of a particular instance of phase cancellation. The user can either remain within the marked space or further explore the space with a new understanding of the sonic structure that is subtly filling the space in which they are.

The following story-board describes how one would interact with this installation.

The descriptions below describe a series of on-going experiments designed to aid in the execution of this installation.

experiment 2 [14.11.2008]

working within a large studio space in greenpoint (brooklyn new york) this experiment focused on the brute force mapping of the interference patterns. A sine tone at a frequency of 300 Hz was projected uniformly from all 4 channels. This lower frequency value was selected due to the manageable wavelength of this signal (1.172 meters). The 100 square foot space was divided into a grid that produced 21 valid measurement points. This test was unfortunately prematurely terminated as two of the channels were discovered to be malfunctioning and were projecting their signals at a level almost 20 decibels below their originally calibrated value. Data was gathered for a 300 Hz signal without a shift of phase, and a 300 Hz signal expressing a phase shift of 30 degrees. The images set below contains the results of the tests performed as well as some photographs describing the space we are currently using to develop this project.

experiment 1 [08.11.2008]

this experiment was conducted to better understand the interference patterns created when introducing four unique channels of sound within a closed space. These tests were heavily influenced by the work of La Monte Young.

No quantitative findings were logged, however significant qualitative exploration of the sonic structures created by the various interference patterns were conducted (the video evidence can be seen below). It is this experiment that lead to the shift in conceptual direction from the cancellation of noise within urban spaces to the pure exploration of the interference patterns generated when sound is projected within a given space. The video documentation illustrates the complexity of the sonic structure formed by the sine tones projected into the space. As the camera and microphone rotate in the middle of the space, one can identify a seemingly dynamic audio signal that is actually associated with the interference pattern formed within that particular space. It is recommended that one view these videos while wearing head-phones to better experience the the audio component of the documentation. The title screen of each video describes the sine tones used in each trial (all sets are comprised of prime numbers).

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metaforms – midterm presentation

November 1st, 2008 admin

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metaform: final project overview

October 15th, 2008 admin

This project will manifest in the form of contrasting sonic spaces within urban environments. Enclosed ventilation systems are the primary target for this installation due to the highly cyclical nature of the sound they produce in addition to the physical presence they create through the movement of air. Ideally, one will be able to see the and feel the ventilation fan operating in silence when behind the sonic partition created by the installation.

The contrasting space will be created through the hybridization of an active noise control (ANC) system in order to cancel low frequency sounds, and the use of white noise for high frequency masking (due to the inherent difficulties associated with high frequency noise cancellation). This installation will only target highly directional (one dimensional) sources where the sound to be canceled / masked flows towards the installation in a highly focused manner.

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interview with somebody in the ’system’

October 1st, 2008 admin

for this assignment, i decided to interview Arun Mhatre [my father] who worked as an urban planner for the city of ottawa for roughly thirty years. he also spent three years of this career as vice chair of the design committee responsible for approving all major building projects within the central business district of ottawa as well as all major open spaces, historic, and heritage areas (as defined by the official master plan of the city). working closely with numerous city officials as well as commercial developers throughout his career, I felt this would be an excellent opportunity to discuss the issues of architecture, power, and development.

The list of questions I asked are found below, however these pre-defined questions simply acted as a frame-work which guided our conversation that lasted approximately an hour. I am in the process of transcribing this interview, and will post the answers shortly.

1. Can you describe the fundamental criteria that were required in order to validate the construction of a new building within the city of Ottawa.

2. What level of importance was given to ensure the healthy growth of the city in-terms of sound planing and vision to ensure Ottawa would continue to grow under its own terms, and not those of a corporate agenda?

3. It seems there is a growing divide between urban centers and the surrounding localities in which most individuals actually live. Ottawa is a prime example of this. Would you agree with this statement, and what do you think this paradigm shift represents in our present day?

4. What are the dangers of the urban center becoming a form of museum, or specialized space where one has no real context in terms of their daily existence?

5. Do you feel the architectural landscape of a city defines the identity of that locality?

6. Architecture inherently has served to represent power, status, and ideologies. Traditionally structures were build to last, and resonated with the values and ideologies of the locality in which they were built. Within suburbia, the largest structures are represented by the big block super centers of corporate America. How do you feel about this transformation?

7. As an urban planner for a city undergoing this exact transformation, how did you personally confront this movement?

8. What is the motivation for a city such as Ottawa to accept these commercially centralized design propositions?

9. Within the municipal design community, what was the general reaction to this type of development?

10. As architectural landscapes are now being overwhelmed by commercial interest and generic housing do you fear that localities will eventually lose their identities?

11. Will the paths of the urban and suburban continue to diverge? And if so, what will the consequences be?

12. Do you see any way to curb this divergence?

…stay tuned.

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manifesto.

September 24th, 2008 admin

White fence, backyard, husband, wife, child A, manicured lawn, child B, car (with leather seats); all of which describe the collective dream of a population that is perpetuating a form of anti-architecture polluting the majority of North America. The culture of architects and urban planners who are generating spatial and structural masterpieces have no place in suburban space as can be seen through the endless spread of development projects and strip malls that define a suburban existence.

Architecture is a manifestation of conscious design challenged with the task of defining the physical spaces in which we exist. I must stress the use of the adjective ‘conscious’ in this description as an architect must carefully consider their site as an integral part of the design process leading to the creation of a dwelling or structure that stands in harmony within its immediate environment. The work of Douglas Cardinal is a tangible example this type of harmony. Urban centers, such as Mumbai, Seoul, Toronto and New York City do represent some of the most innovative and compelling architectural creations. However the urban center is no longer a heavily trafficked node in the day to day lives of overwhelming population that choose to reside in suburbia. Daniel Libeskind’s Crystal for example reshapes the urban center of Toronto. This controversial new structure pushes the imagination in terms of design and construction and in my opinion does represent an fine accomplishment from an architectural perspective. Within a few blocks of this overwhelming structure, Frank Gehry’s renovation of the the Art Gallery of Ontario provides yet another example of the bleeding edge in-terms of design and construction. Both buildings however are far from practical structures and spaces an individual living in Toronto might encounter in their daily lives. There is a unacceptably sharp contrast between the thought and planning that is invested into the design of city centers in comparison to the sprawl of cheap and repetitive housing that is being literally stamped out in the surrounding collection areas. Living in the sub-urban environment of South Korea I was able to experience the manifestation of this same juxtaposition of design principles. Suwon is located forty five minutes south of Seoul when traveling by commuter train (one of the primary tools that makes sub-urban existence possible). Within this dense suburban environment, the horizontal footprint of the cookie cutter house is replaced by row after row of identical residential towers that collectively create a forrest of housing units stacked efficiently atop each other. I am at a loss to understand how this type of massively thoughtless planning and implementation can be made possible. Furthermore I am at a loss as to how a constantly growing population accepts these housing options. Phase after phase of poorly constructed stenciled homes are generating more then a future of waste (as these dwellings are not designed or built to withstand the test of time), they are stripping communities, cities and nations of their individual identities.

We are in the age of the clone city. Corporate presence has overloaded our habitats to the point where I have difficulty identifying my immediate surrounding when in suburbia. Walmart has become the architect of our generation promoting the big-block-strip-mall culture. Efficient housing does not need to be so offensive, and it is our responsibility to demand an alternative. My thoughts are from the perspective of an individual coming from the suburban wastelands of Canada and I feel the best way to articulate what architecture means to me is to draw attention to the negative expression of all its values.

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home delivery: fabricating the modern dwelling. [MoMA 2008]

September 12th, 2008 admin

occupying the parking lot of the MoMA, one can’t help but notice the 5 distinct structures that comprise the outdoor section of the ‘home delivery’ exhibit. complementing the survey of prefabricated housing displayed within the museum walls, 5 contemporary prefab housing designs are open to the public to explore, allowing one to weave through a cross section of some of the most innovative and forward housing concepts.

burst*008. [Jeremy Edmiston / Douglas Gauthier]

analogue parametrics: given a set of parameters related to the inteded location of this unit, an algorithm is responsible and trusted in defining the final design and configuration of this dwelling. this model was the least insipring of the colletion of homes in my opinion. elements of the project did stand out,specifically the design of the interior, however the i did not agree with the general esthetic of the exterior. the strongest point was the transition between the facade of floor to ceiling windows leading into the open kitchen and seating area. a spectacular view of the exhibit could be seen from the main balcony that spanned the length of the unit.

system3. [Oskar Leo Kaufmann / Albert Rüf]

modular, stack-able, and can fit inside of standard cargo containers. This unit was quite impressive from both a functional and esthetic perspective. The juxtapositoin of wood and stainless steel within the interior allowed for the internal space to express a modern look and feel while maintaining the warm qualities most seek for residential spaces. The matrix of small circular windows was another impressive feature, allowing for an abundance of natural light to flood the inner space while also contributing towards the contemporary design elements of this piece.

micro compact home. [Richard Horden]

work, eat, sleep, cook, clean, and live within 76 squre feet. all your required ammenities are intelligently packed into to a aerospace inspired ‘cacoon’ that is commercially available. the photovoltaic pannels atop the unit add to the futureistic exterior, while contributing towards the sustainable ideals this project adheres to. the inner space while being extremly condesed successfully bears the essential qualities of a livable home. i want one.

housing for new orleans. [Lary Saas]

digital fabrication and 3D modelling in order to generate affordable ‘kit’ homes that can be rapidly constructed with the simplest of tools (rubber mallet). this project was refined to meet the demands of the rebuilding effort in new orleans post hurricane katrina.

cellophane house. [KieranTimberlake Associate]

the most stricking and visually impressive of the installed pieces. this 4 story structure is built from off the shelf materials that allow for a graceful disassembly of the entire unit allowing for the re-use of the materials. translucent floors, telescopic windows, and stacked open backed stair wells are among the most stricking elements of this prefabricated unit. the top floor boasts a large roof deck providing a panoramic view of the immediate surrounding.