COSMIC NOISE and other such (non)senses

• HISTORY:   The study of Acoustics today is highly empirical and uses a very sophisticated and complex equation that I think can be understand as beautiful data in, beautiful sound out. Plato and the pythagoreans (ancient elitists) thought that "the soul of the world is knit together by the harmony of music." In fact, music occupies a key position, it is a mathematical discipline available directly and precisely to the senses and influencing the soul, a fulcrum between the material world and the meta-reality of number, contributing to the dialogue of correspondence between the two." (http://www.philophony.com/sensprop/pythagor.html) In about 20 BC, the Roman architect and engineer Vitruvius wrote a treatise on the acoustic properties of theaters including discussion of interference, echoes, and reverberation—the beginnings of architectural acoustics.^[8] In Book V of his De architectura (The Ten Books of Architecture) Vitruvius describes sound as a wave comparable to a water wave extended to three dimensions, which, when interrupted by obstructions, would flow back and break up following waves. He described the ascending seats in ancient theaters as designed to prevent this deterioration of sound and also recommended bronze vessels of appropriate sizes be placed in theaters to resonate with the fourth, fifth and so on, up to the double octave, in order to resonate with the more desirable, harmonious notes. (http://en.wikipedia.org/wiki/Acoustics) We still understand sound as waves and have evolved our understanding to begin to quantify, experiment with, and develop a field of acoustics that can control sound and effect. I thought Lindsay's Wheel of Acoustics would be interesting to those interested in the role that architects and philosophers now play in the "wheel of acoustics." Once thought to be the fathers of music's math, we've been shunted over to a position that shares ownership with engineers ( insert *grumpy noises*). 

• Nerd Talk:


• The factors related to acoustics that effect the design of a space are shape, size, material, and surrounding noise.
• The materials, geometry and the relationship between the source of a sound and the listener must be taken into consideration. Human's audible range falls between 20 Hz and 20,000 Hz. Anything above or below this is ultra or infrasonic noise. The amount of "soundtrack" that travels through the speakers and to the audience can be measured and altered. Originally, movies were accompanied by full orchestras that sat in the pit while the silent film was projected onto screen above. Different versions of the soundtrack were conducted at varying speeds based on the projectionist. When the talkies were invented, the form of the cinematek changed as sound was incorporated into the film strip and there was no longer a need for the performance space or pit. We still see that most theaters rely on a healthy distance from the screen but it is only for visual aesthetic value and not for the best auditory experience.
• The material that surrounds the speakers and encloses the space where the audience sits can be tested by an equation called the acoustic wave equation. It's important to remember that when two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. There are many other factors to take into consideration and as of now it is a mystery to me as to how to create a theater that functions acoustically. Obviously, it is a science where beautiful data goes in and beautiful sound is delivered forth. 
• I posted images of a project that I've been intrigued by for a while now. Renzo Piano had a show at a gallery in NYC where a bunch of highlights from the office's work hung within the space, transforming the once sterile white room into an interactive learning experience. I was able to go and sit down with models from the office and I found this one project most intriguing because of the distinction I felt that it had from all of his other projects. There was an element of biophiliac design that was sensual and almost grotesque but there was also a more intriguing element of mystery in the form that drew me down to eye level with the models and brought me into the imagined sound of this theater. It is called the Rome Auditorium. I've posted some photos below. I can't tell you much about the project, but I hope it intrigues you and you find yourself eye level with some background information at some point. Enjoy.