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RensselaerPolytechnicInstitute |Schoolof Architecture AD1 |Instructor:Ezio Blasetti

ARCHITECTURE

Architecture is music frozen.

An exploration into formalizing sound; our syntax allows us to express sound and music architecturally. Bymanipulating frequency, volume, time, and space in sound we can conceptually and formally create anew architecture from the landscape. Our architecture interacts with the landscape and is formed bythe landscape. Architecture as a discipline has been based on visual thinking. This project allows us to

think about architecture audibly. To orchestrate space as it was music. As a species sound has a greaterimpact to move us emotionally and we have evolved to think visually and feel audibly.

CYMATIC SOUNDSCAPES

MARS

The moment we lose the ability to be moved by non-human expressivity we lose something, and if we are artists we lose more. It means we are becoming obsessed with thehuman world and the human imagination.

We thought that injecting the human imagination onto mars would be a mistake. Our project exploresthe capacity of the non-human expressivity of sounds interaction with the Martian landscape. Our archi-tecture is as unique as the Martian landscape. The architecture is not to be understood as architectureon Earth. We are designing the landscape to create habitable architecture rather than projecting ourown constructions onto the landscape. Martian areography and atmospheric conditions affect sound ina drastically different way from Earths geography and atmosphere. This made simulating our constructionalmost impossible and also allowed amazingly foreign spatial relationships in our architecture.

CONSTRUCTION

Our architecture is built from cymatic vibrations. By injectingsound into the Martian landscape in three dimensions wecan create redesign the landscape and play represent our

architecture sonically. The construction of our project wouldbe similar to a controlled earth quake. However, we haveamazing control over the sound and can simulate thespaces that would be creating by vibrating the soil at differ-ent volumes, pitches, and with different timing.

Matter expresses itself in many ways,from the simple emission of physical in-formation to the deliberate use ofmelody and rhythm. The universe itselfmay be viewed as a grand symphony ofmaterial expressivity. The early humanartists who tapped into this expressivereservoir for their cave paintings, bodytattoos, and ritual ceremonies, far fromintroducing artistry into the world were

simply adding one more voice to an on-going material chorus.