Solaf balisany MArchD Portfolio

Voids of Sounds Solaf Balisany 14010202

Voids of Sounds Through making and testing

Voids of Sounds Through making and testing

My design principles feed into the environmental principles. The environmental principles of urban condition consequently sound of the functions within the urban fabric, and the role of sound on the public space.

Looking at the infrastructure of the civic room and the urban function on the site, how the function inhabiting the civic room as enclosed interior room. I’m using the sound of the functions as method to investigate the importance of this civic room and to understand further the quality of the site as a public square.

I’m using the sound of the functions as method to investigate the importance of this civic room and to understand further the quality of the site as a public square.

"Virtual space has no ground. That's the beauty of it.

It's about destroying the ground so you can explore all the dimensions and viewpoints." Stella Some of Stella's invitation of physical form making through process.

The Nutshell Studies of Unexplained Death - an extraordinary glimpse into the mind of a master criminal investigator.

Looking close into the quality of details in making of a crime scene

Reflection of surfaces in making A fragment of thesholds relief in order to understand the relief of the surface.

The casting technique is been used here is, basic mold with several layers of foam board and white card, and varnished with butter to freeze or dry out the concrete pouring surface.

Reflection of surfaces in drawing

Experiencing the Urban fabric

“The Missing Voices” Janet Cardiff, 1998

“Sometimes I don’t really know what the stories in my walks are about. Mostly they are a response to the location, almost as if the site were a Rorschach test that I am interpreting. For me, The Missing Voice was partly a response to living in a large city like London for a while, reading about its history in quiet libraries, seeing newspaper headlines as I walked by the new stands, overhearing gossip, and being a solitary person lost amongst the masses.”

Janet Cardiff, 1998

The Menaced Assassin, Painted in 1927 by The French artist Rene Magritte. With this painting Rene Magritte tells us as the viewer a story of a murder scene. What I found interesting about this piece of work is the representation and the layout of the how and what happend. Rene Magritte represent the the story in two interior rooms and one exterior, where each room tells parts of the story of the murder scene.

The diagram below trance The Menaced Assassin layout, 1. The two bowler hated men, waiting in the wings, 2. “A female corpse with blood around the mouth lies on a red chaise lounge in a room while a man listens to a phonograph”, 3.”The three men appear outside a window and peer over a balcony railing”

3 2 1

1

2

3

Whitechapel Gallery --> Brick Lane

Fashion Street --> Commercial Street

Bishopsgate Street --> Liverpool St, the Church and final stop Liverpool St.

The walking journey timeline

- Traffic - The Shops - The windy weather - People walking past - Janets foot steps

- Traffic - Construction - Silence - People walking past - Janets foot steps

- Traffic - People conversation - Railway Station - The Church - Janets foot steps - The garden

3 2 1

Looking closer into the background sounds behind Janet where stepping there a range of variation of street environmental. Every street has own character in Janet's audio with their own activities and function. Therefore, I'm interested in the background noises of the Cardiff's Study and I want to reflect the noises to a fiction timeline based on my imagination of what I'm imagining from Cardiff walk. The timeline will follow the street and surrounding noises in Cardiff walk. By background noises I mean, the street traffic, particular shop music, the windy weather and emptiness and peoples conversations on the street.

1: Whitechapel Gallery

2: Brick Lane

3:Fashion Street --> Commercial Street

The notion of sound in three dimentional The experimentation through charcoal drawing method I explored the journey as fundamental rooms spaces with a range of forms reflected of notions of sounds. The reflection of notions of sound I explored the surfaces, human body functions, traffics, ect.

In order to experiment these notions of sound reflection in a three dimensional I want to take the idea of space as enclosed ‘interior room and explore abstraction of negative and positive of spaces itself, through making and testing. The object enclosed ‘interior room’ will accommodate each instance of the walking experiment, as a interior facade with relief of positive and negative surfaces of incoming moments of the walking journey.

Since the research was based on a walk through a diversity public spaces with many scales, materials, ages, cultures and uses.There is many layer of materials, surfaces, joins, and nonless scales on any outdoor public space. I took the same concept of walking and walked in our studio space and collected rests of damaged and used model making materials in order to explore the identity of space.

Above: Parts of the mold in making: Facades views for the casting mold.

On the left: Part of the mold in making: The ground base of the casting mold.

4: Bishopsgate Street --> Liverpool St, the Church and final stop Liverpool St.

RECYCLING MATERIALS I FOUND AROUND STUDIO WOODEN SKEWERS STICKS THIN ALUMINIUM SHEET

REST OF ............

SAND PAPER

BROWN CARDBOARD

WHITE SPONGE FOAM

WOOD

MDF

The Result of the previous casting experiment Experiment the surface of the quality of the destroyed materials by tracing technique with charcoal and eraser.

On following page there is a charcoal drawing of the destroyetion of the mold as representation of urban space. The porpuse of these experiment is to undestand the condition of urban fabric:froms, the voids, shades and

Creation of new spatial definitions

Sound “....the physiological capacities of the ear are for the most part unchanging, the scope of “lis- tening” remains fundamentally vague. “Listening,” in terms of attention-to-sounds-heard, inherently expresses the categories we choose to extract from audible (and inaudible) eventful- ness.

Tuning in to such categories may also reveal the mean- ings we tend to reversibly invest in matters of vibrations.”

Sound and Space expertise Reviv Ganchrow (US/IL/NL), 2009

The listener’s experience

Acoustic Defence Acoustic Mirror or Acoustic Defence where developed during World War 1 to provide early warning of incoming enemy airships about to attack coastal towns. The research aimed to locate enemy gunfire and aircraft movements by way of various listening devices.

Collect the incoming vibrations and refocus their energy back into audibility.

Acoustic reflective properties of a 20-ft sound mirror at Abbots Cliffs. R. Ganchrow (2009)

Two types of listening dishes were developed over the course of the project: One was deeper, with parabolic properties; the other shallow, with spherical curvature.

An idea of space that was previously deemed to be the outcome of a network of relations between dispersed objects within a visual field is foreshadowed by the space of the interval.

Diffusion forms or surfaces. With diffusion surfaces sound vibration spreads evenly in a given environment. In non-diffusion spaces the speed of sound vibrations move around the space have very low frequencies.

Whispering gallery are normally elliptical enclose circle from, like dome, in which incoming sound vibrations and refocus the energy around a concave surface. In other words two persons can hear each other from opposite part of the elliptical dome. The sound vibration inside the elliptical gallery will create an echo that will refocus at the center point almost without energy loss.

The development of acoustic sound mirrors incorporated a refined understanding of soundwave propagation and reflection, oriented toward a narrowly defined subject of reception, namely, a certain range of wavelengths.

Sound reflection objects

Union Square

History timeline through photographs

After 1920

1900 Century

1800 Century

“The design of New York’s Union Square has been modified repeatedly to either accommodate or contain voices of protest. Samuel Ruggles, one of the Square’s developers, claimed in 1864 that the square was “deliberately designed to support participatory democracy.”

Joanna Merwood -Salisbury Parsons The New School of Design

Public Park

Views

Architecture quality

Functions

Public speech / Street Performence

Public Park

Greenmarket

The park visiters

Street preformance

The farm market

Activism

Pedestrians

Subway

Sound in the creation of space

Creation of new spatial definitions