09/2014 Thesis Statement Draft1.0
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Rhythmi(city) WHAT Sound as a product of motion is the interconnection between men and space as it allows one to comprehend space through hearing1. This thesis sets to examine the constant dynamics between sound, motion and architecture, with the ambition to justify sound as an important but often neglected design component2 in the context of spatial design in both urban and architectural scale. As a case study, the project sets stage in Central – the hub of the social-political movement that is currently prevalent in Hong Kong. With initial reference to Bernard Tschumi’s Manhattan Transcripts3, this investigation seeks to critically analyse how the event of protest marches and the act of occupation transforms Central through mapping the networks and (passive/active, static/mobile, tangible/intangible) forces at work, as means to rediscover the dialogue between the event, sound and space. These studies aimed to realises sound as a critical material in spatial design, with specific properties and limitations. It is only with these findings, could sound be truly reintroduced as a legitimate design component that could then transform the fabric of our generic cityscape and living spaces today. 1. ‘We ourselves make the room resound with our steps or speech, or by simply breathing (…) this is a dialogue that enables us to experience ourselves in the sound of the room .’ [ Architecture as a translation of music, By: Martin, Elizabeth. Princeton Architectural Press, 1994] 2. ‘Sound and space mutually reinforce one another in our perception; the quality of space affects how we perceive a sound and those of a sound affect how we perceive a space.’ [In the place of sound: architecture, music, acoustic, By: Ripley, Colin. Cambridge Scholars Pub. 2007 3. The Manhattan transcripts, By: Tschumi, Bernard, and N.Y. York. Academy Editions ;1994 WHY In a TED talk (Feb 2010) David Byrne, the award winning musician speaks of the transformative power of architecture upon music and vice versa. Byrne described how architecture as an instrument shapes sound and how the Gothic Cathedral for instance, has a carefully and thoughtfully interior designed with a desirable sonic environment that enhances the sound of organ and choir. However, Byrne also noted that the invention of audio equipments threatens the interrelationship between sound and space, as audio amplifier and projection device gives music the mobility and flexibility that frees it from spatial restraints. These inventions along with urban development under capitalism gave birth to standardised spaces that forms our generic city today. This thesis sees the opportunity to transform the face of our generic city by reintroducing the importance of acoustic in spatial design. The anticipated architectural intervention would be an innovative form, consist of sensible acoustic spaces that response to the networks of dynamic forces at work in Central. HOW 1. THE BASE MAP: Map the journey of protest. Locate the beginning and end of journey as well as all checkpoints, forums and potential first-aid stations in between. 2. Should there be an outbreak of riots, locate those too. 3. SOUNDSCAPE: 4. PHOTOGRAPH DOCUMENTATION: Document all identifiable sound sources 5. MAPPING BOUNDARIES: 6. MAPPING DIVERGED CURRENCY: 7. SOUNDSCAPE: Record the soundscape on parallel streets and immediately adjacent streets 8. PHOTOGRAPH DOCUMENTATION: Document all that were mentioned above. *Overlay all items above, annotate. The aim of this piece is map how the ‘others’ adapt to the movement 9. SECTION: BIBLIOGRAPHY The Manhattan transcripts In the place of sound: architecture, music, acoustics Architecture as a translation of music Sonic graphics: seeing sound |