Course Title: Adaptive Strategies - Sound Machines: Architectural Explorations in Sonic Installations

Course Description:

This course invites students to embark on a multidisciplinary journey that blends spatial design with auditory experiences. Students will conceptualize, design, and fabricate a noise/sound machine that not only produces sound but also exists as an aesthetically compelling object within a spatial context. The assignment challenges students to think beyond traditional architectural practices, exploring how sound shapes our perception of space and how objects can serve as extensions of human experience.

I: Research and Investigation

Students will begin by investigating historical and contemporary sound installations and sonic artworks, focusing on:

Conceptual Frameworks: Understanding the artistic intentions and theoretical underpinnings that drive sonic works.
-Sound Inputs and Influences: Exploring various types of sound inputs—mechanical, environmental, digital, or human interaction—that influence the produced sound.
-Mechanisms of Sound Creation:  Analyzing how different technologies and mechanisms generate sound.
-Interplay Between Input and Output: Examining the relationship between the inputs/drivers and the resulting sounds, considering the dialogue between cause and effect.

II: Design Proposals

Building on their research, students will develop design proposals for their own sound machines or installations, with key considerations:

-Architectural Integration: Leveraging spatial awareness and architectural principles to design objects that are both functional in producing sound and possess strong visual and spatial presence.
-Material Exploration: Experimenting with  materials to discover unique sound qualities and aesthetic possibilities.
- Scale and Context: Considering the scale of the object in relation to the sound it creates and the expectations it sets for viewers as they approach and interact with the installation.

III: Prototyping and Experimentation

Students will prototype their designs, allowing for exploration and experimentation with both sound drivers/inputs and the sounds themselves. This phase emphasizes iterative development:

- Iterative Design Process: Embracing prototyping to test and refine ideas, leading to unexpected discoveries.
- Technical Skill Development: Addressing practical considerations to make designs functional and reliable, potentially involving basic electronics or digital fabrication techniques.
- Interactive Elements: Incorporating user interaction to influence the sound and experience of the installation, enhancing audience engagement.

IV: Fabrication and Refinement

In the final phase, students will fully fabricate their sound machines and refine their performance:

- Choreography of Movement: Developing any movements of the machine to create a cohesive performance that complements the sound composition.
- Sound Composition: Fine-tuning the sound output to achieve the desired auditory experience, considering acoustics and resonance.
- Installation Presentation: Preparing the piece for exhibition, considering spatial placement, lighting, and how the audience will interact with the installation.

Course Objectives:

- To understand the historical and theoretical contexts of sound art and its intersection with architecture.
- To develop skills in conceptual design, prototyping, and fabrication with an emphasis on architectural materials and spatial design.
- To explore the relationship between sound, space, and object, enhancing the perception of architectural environments.
- To create immersive experiences that engage both visual and auditory senses, pushing the boundaries of architectural practice.

 

Readings and References:

- Blesser, Barry, and Linda-Ruth Salter. Spaces Speak, Are You Listening? 2006.
- Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts, 1999.
- LaBelle, Brandon. Acoustic Territories: Sound Culture and Everyday Life, 2010.
- McLuhan, Marshall. Understanding Media: The Extensions of Man, 1964.
- Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World, 1977.

Additional Resources:

- Case Studies and Artists:
- Bernhard Leitner:Exploration of sound spaces and the physical experience of sound.
- Janet Cardiff: Innovative audio walks and installations that merge narrative with spatial sound.
- Zimoun: Kinetic sound sculptures combining simple materials with mechanical elements.
- Anselm Kiefer: Installations incorporating sound to enhance spatial perception.
- Harry Bertoia: Sound sculptures that blend art, design, and architectural concepts.

Expected Outcomes:

By the end of the course, students will have produced a fully realized sound machine or installation that demonstrates a thoughtful integration of research, design, and fabrication. The final works should:

- Engage audiences on multiple sensory levels.
- Reflect an innovative exploration of how sound shapes spatial perception.
- Demonstrate an understanding of architectural principles applied to sound art.

Final Thoughts:

This course offers students a unique opportunity to blend their spatial design expertise with auditory exploration. By thinking beyond traditional architectural practices, students will delve into innovative explorations of how sound and space interact, ultimately shaping new perceptions of both. Encouraging them to push the boundaries of perception and interaction, the course aims to foster a deeper understanding of the role of sound in architectural environments and its potential to transform human experience.