-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
Non Newtonian Fluids Part IOobleck
Resistance
Change of state
The experiment did not go as planned. The oo-bleck did not
transform. This is due to the low volume of the vibra on from the
speaker. The experiment seems that it will only work under a high
volume vibra on (loudspeaker).
The experiment to be done is similar to diagrams below. Although
the experiment done below is using a single note freequency. I am
trying to pursue the no on that songs similar to architec-ture have
its own Structures and Systems.
I will be conduc ng these experimenta on with the idea that with
di erent sounds (genre of music) a di ferent mo on of expression
will be expressed through the Oobleck.
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
Chladni Pa erns Part IResearch - Frequency Vibra ons
Ernst Chladni gures for a square steel plate (adapted from
Waller 1961) demonstrates the fantas c variety of standing wave pa
erns that can arise from a simple resona ng system. A square steel
plate is clamped at its midpoint and sprinkled with sand. It is
then set into vibra on either by bowing with a violin bow, or by
pressing dry ice against it. The resultant standing wave pa erns
are revealed by the sand, that collects at the nodes of the oscilla
on where the vibra on is minimal.
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
Research - Frequency Varia onsDi erences in wavelenghts
Coldplay - Viva la vida
Radiohead - Jigsaw falling into place
Feist - I feel it all
Style of eye - Psalm
John Lennon - Imagine
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
A transla on from Sounds to ArchitectureTuned City presents ar s
c work and theore cal approaches de-rived from a cri cal preoccupa-
on with sound in the context of urban and architectonic situa ons
and their socio-poli cal implica- ons. Invited par cipants re ect
in their work on the aesthe c, ethical and poli cal dimensions of
sound art projects and demon-strate the poten al in using exist-ing
architectures in new ways or designing new spaces. Tuned City
extends current discourses on ur-ban development and planning from
the perspec ve of ar s c sound produc on.
The rela onship between music and architecture is a classical
one. Too classical for our mes, may be the thought of many
contemporary architects. But that is not our view; UNStudio likes
classical with a twist The theme of the acous c space, explored for
its drama c poten al by Le Corbusier and Xenakis is s ll to us a
topic of fascina on and incredible poten al today. And since the
MUMUTH theatre belongs to the University of Graz and is therefore a
place where young musicians receive their instruc on in the
performing and musical arts, it seems to us even more appropriate
to let the ar-chitecture communicate that this is a building in
which music lives.
Music Terms / De ni ons for this page:
Sta : A sta of music is made up of ve horizontal lines and four
spaces. Each line and space represents a key on the piano. Notes
and rests are then placed on the sta .
Clef: A clef is a symbol at the beginning of a sta of music
which makes it possible for the player to work out what the notes
are. It indicates the pitch of the notes on that sta to be played.
The two most common clefs are the Treble Clef and Bass Clef.
Measure: Sheet music is divided into Measures. Each individual
Measure lasts for the same me dura on, and can consist of a combina
on of notes and rests. A measure ends where a ver cal bar line goes
through the sta (horizontal lines) on sheet music.
Note: A note is represented by a sign which tells the musician
the dura on and pitch of a sound.
Pitch: The speci c frequency of a sound. Notes to the right of
the keyboard have a higher pitch than the notes to the le .
Time Signature: The me signature, also known as a meter, tells
the musician how many notes are in a measure.
Beat: A beat is the name for a unit of music. Musicians learn to
count beats, and play notes for the speci ed number of beats. Some
use a metro-nome, this device counts out beats, and will ck
according to which ming you have set. Coun ng beats starts when the
rst note is played.
Breakdown
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
Experience Music Project by Frank GehryExperience Architecture
unites narra ve con-tent and media technology to o er a dynamic new
approach to the built environment. This design orienta on focuses
on the guest ex-perience, and highlights the poten al for
ar-chitects to integrate media, informa on, and other forms of
content into their building vocabulary. Its in uencing a wide range
of commercial and cultural building types, from retail and brand
environments to museums, libraries, and civic spaces across the
country. Experience Architecture is not a style, but rather an
emerging set of design values that confront architects with issues
of substance, and the ability of their work to express ideas and
emo ons.
In fact he was by sculpturing the EMP Experience Music Project
only 3 years later on the northern edge of downtown Sea le. This
area is s ll dominated by the Needle, the gothic structures of
Yamasaki and a mono-rail da ng back to the World Exhibi on held in
1962. Besides these landmarks Fun Forest, a planetarium and I-max
cinemas dominates this entertainment quarter of the city where the
youth might also be ready for a crea ve intermezzo with American
popular music exempli ed by Rock n Roll.
Another inspira on for the EMP building might be the concept of
Rockn Roll and not least the electric guitar Hendrix crushed during
a concert at the Saville Theatre in London on June 4th 1967. It is
evident that the main parts of the music building t together like
parts belonging to a former in common. On the eastern side of the
EMP bluish and greenish scales are added to the overall complexity
of the exterior looking like a switchback. Even the monorail separa
ng the upper part of the EMP in two is welcomed by Gehry for
creat-ing a sort of canyon leading to other improvisa on for the
interiors.Most convincing by the EMP is the smoothing out of the
tradi onal di erence between roof and facades while giving way to
protec ng the entrance parts by hangouts. The bright colours and so
surfaces are re- ec ng the daylight in a most invi ng way while
providing the young visitors opportunity to mirror them-selves.
While all the me discovering mo ves in the expressive forms like
the helmet of Darth Vader over the main entrance. All together the
EMP shows poten als for an architectural crossover in providing
clima c protec on while housing all sorts of func ons and spaces
inside.
A transla on from Sounds to Architecture
-
EXTREME IIEXTREME II
IKMAL IKRAM ARIFFINIKMAL IKRAM ARIFFINS3077092S3077092
SIALSIAL
Experimenta ons - Frequency to Form
Moody Blues - Whiter Shade of Pale
Pa ern forma on with change of Frequency Pa ern nding then
transforma on Jigsaw Falling into Place Op mum Frequency for
transforma on
userRectangle