Shiman Jeremy Aural Spatialities

Aural Spatialities
An Investigation of the Architectural Implications of Aural Perception
By
Jeremy Shiman
Aural Spatialities
An Investigation of the Architectural Implications of Aural Perception
By
Jeremy Shiman
A departmental thesis submitted in partial satisfaction of the

requirements for the degree of
Master of Architecture
in the
Graduate Division
of the
University of California, Berkeley
Committee in charge:
Professor Raveevarn Choksombatchai
Professor Roddy Creedon
Spring 2016
Look around you.
What do your eyes tell you?

What you do see?
How do you interpret this information?

Now briefly close your eyes.
What do you hear?
How do you interpret this information?

Listen.
What do your ears tell you?
Think about this carefully.

Preface
How does our perception of sound influence our perception of space? How does our aural experience
affect our spatial experience? Hearing is an integral aspect of spatial perception, arguably even more
important than sight. Sound is immersive and perceptible to everyone.
Unfortunately, sound is often overlooked or undervalued in the design process. How can we,
as designers, understand the sonic implications of architectural decisions at every stage of the
design process? Taken further, can we make sonic and aural investigations fundamental to the
design process? This thesis places sound at the center of architectural inquiry and explores the
repercussions of sound as a design driver.
It is worth noting at the outset that while this project primarily relates to the hearing population, the
deaf also perceive sound, though not in the form of hearing. The vibrations created by sound waves
can be perceived by those without the ability to hear. One example that illustrates this point across
the spectrum of hearing ability is that sound waves at very low frequencies can be felt physically
vibrating rooms, even though they do not create sound audible to the human ear.
Lastly, the immersive aspect of sound became a driver for much of the thinking that was the
underpinning for the thesis. As such, this book takes the form of sound in certain ways, rarely coming
from a single source, often scattering, but ultimately creating a unified, cohesive whole. The thesis,
which might traditionally be seen as a linear narrative, will be dispersed. An introduction has instead
been scattered throughout as a series of musings on how sound has traditionally and untraditionally
been thought about and placed within the larger context of the body and built environment. Studies
of artists and architects, both the people and the work, find themselves juxtaposed, sometimes
awkwardly, sometimes pleasantly, but never predictably. Full scale installations were a large
portion of the thesis project and appear intermittently. Finally, a design proposal for New York City’s
Pennsylvania Station serves as one answer to the question, “how can sound drive the design process
through sound, the sonic, and the aural?”
JEREMY SHIMAN 1
Experiential Sound Matrix
This matrix is an amalgamation of different ways

to visualize the sonic experience. In many ways it
is a microcosm of this book, with many different
visualizaitons and ideas combining to create a whole
idea.
There is no singular way to draw or visualize sound,

and as such, all methods can be viewed as correct.
These different drawings are explored throughout
the book, giving insight into how to think about the
spatial qualities of sound in a two-dimensional, visual
way.
EYE
EAR
3 14 1 7 2 15
14 14 14 14 14 14 14 14
AURAL
ACOUSTIC
14 14 4 6 11
13 13 13 13 13 13 13 13
REFERENCES
HEARING
1 - DANIEL LIBESKIND - CHAMBERWORKS: HORIZONTAL ii & xi
2 - BERNHARD LEITNER - TONE ROOM BERLIN & TONE LINE SCULPTURE
3 - M W BURNS - SINKER
4 - JANET CARDIFF - 40 PART MOTET
5 - JOHN CAGE - POEM TO ELIZABETH MARTIN
6 - IANNIS XENAKIS - POLYTOPES CLUNY
7 - HANS-CHRISTOPH STEINER - SOLITUDE
8 - ANDREA GALVANI - A CUBE, A SPHERE, AND A PYRAMID
9 - CHRISTOPHER JANNEY - REACH NY
10 - AALTO - VIIPURI LIBRARY
11 - RENZO PIANO - PROMETEO MUSICAL SPACEALVAR
LISTENING
12 - FALLING WATER - FRANK LLOYD WRIGHT
13 - ST PETER’S CHAPEL - PETER ZUMTHOR
14 - GLASS HOUSE - PHILIP JOHNSON
15 - PIANO
16 - NOISE, INTERIOR AND EXTERIOR
17 - REVERBERATION
13 13 3 14
12 16 3 8 4 17 1
15 12 11 16 9 13
2 4 14 6 15 10 16
EYELIDS
EARLIDS?
17 13 16 4 13
the arts are not isolated,
froM one another

bUt engage in dialogue
thiS
understanding wIll
introduCe BIBLIOGRAPHY
new kinds 1 - MUSIC, SPACE, AND ARCHITECTURE - KLAAS DE JONG, ET AL
of spAtial 2 - SOUND AND ARCHITECTURE - JULIA KURSELL, ET AL
phenomenoN, however each art
can Do 3 - ARCHITECTURE AS A TRANSLATION OF MUSIC - ELISABETH MARTIN, ET AL
4 - SPACES SPEAK, ARE YOU LISTENING - BARRY BLESSER & LINDA-RUTH SALTER
what 5 - ARCHITECTURE OF THE AIR - CHRISTOPHER JANNEY
An 6 - SITE OF SOUND: OF ARCHITECTURE & THE EAR - BRANDON LaBELLE, ET AL
otheR
Cannot 7 - RESONANCE: ESSAYS ON MUSIC AND ARCHITECTURE - MIKESCH, ET AL
in Has been 8 - ARCHITECTURE & MUSIC - RENZO PIANO BUILDING WORKSHOP
predIctable 9 - QUESTIONS OF PERCEPTION - STEVEN HOLL, ET AL
therefore, thaT 10 - EXPERIENCING ARCHITECTURE - STEEN EILER RASMUSSEN
nEw
musiC will be answered by 11 - THE EYES OF THE SKIN - JUHANI PALLASMAA
The new
architecUre -
woRk we have
not yet seEn
3 - only heard 5 13 13 12
40 Part Motet
Janet Cardiff
Janet Cardiff combined music, sound, and space

in an extremely provocative way in 40 Part Motet.
The installation is a play on how people experience
classical music. To illustrate her point, Cardiff takes
the 40 distinct voice lines from Spem in Alium, a mo-
tet from the 17th century, and after recording them
individually, plays them out of 40 speakers arranged
in an oval shape. Now, instead of sitting in front of
40 people singing and not being able to tell which
voice is coming from what place, people listening are
walking through the speakers, choosing which voices
to listen to, sometimes single lines, or sometimes the
full ensemble.
4 AURAL SPATIALITIES
4
JEREMY SHIMAN 5
4
4
JEREMY SHIMAN 7
9
Reach
Chrisopher Janney
Christopher Janney has made multiple engaging

sound installations that are predicated on human
involvement. He made the original SoundStair as his
thesis project while at MIT. When people walk up or
down the stairs, sounds play as they move from step
to step. This creates a human interest in interacting
with the stair, attempting to play songs, or just
make noise, by moving up or down the staircase. A
similarly interactive installation was Reach at the 34th
St N & R Subway line. The installation consists of a
steel tube with holes periodically along it that is over
7’ above the ground. People reach up to cover the
holes and are rewarded with a sound. People on the
other side of the platform, however, think they are
simply waving at them, and wave back.
JEREMY SHIMAN 9
3
Sinker
M. W. Burns
M. W. Burns sound installation Sinker is an extremely

sparse, yet very effective installation. The ideal set
up for this installation is six speakers, divided into
three pairs, one above the other. The three pairs are
set up in a triangle in the middle of an empty room,
the bigger the better. The speakers play, on loop, the
sound of sinking under water, coming up for air, tak-
ing a breath, and going back under water. The sound
moves from the bottom speakers, to the top, and
back to the bottom, in synchrony with going under
water and coming up for air. As the recording plays
on loop, slowly breathing begins to sync up with the
recording, even in the middle of an empty room with
no water anywhere nearby.
JEREMY SHIMAN 11
3
3
JEREMY SHIMAN 13
JEREMY SHIMAN 15
In the 20th century, architectural theorists began considering the implications of sound (as well as
the other senses) as they affect the built environment. Steen Eiler Rasmussen in his seminal text
Experiencing Architecture was among the first to actively acknowledge the importance of other
senses in modern architectural theory. The current champion of multi-sensory architecture is Juhani
Pallasmaa. His writings on phenomenology and ways to experience architecture not solely based in
sight have become a beacon for those interested in the non-visual aspects architecture. Pallasmaa
himself has designed some buildings with these ideas in mind, but does not have a large presence
in the architectural community as far as design is concerned. He readily acknowledges this and
advocates for the work of extremely famous architects who are much more widely known – Daniel
Libeskind, Steven Holl, and Peter Zumthor, among others. These architects certainly have different
styles and contribute in different ways to the conversation about phenomenology and the non-visual
in architecture.
JEREMY SHIMAN 17
Sound Chambers
These four boxes are physical manifestations of
four distinct wall sections. The project explores how
slight differences in construction while maintaining
the same physical dimension can alter perceived
ambient noise. Each of these boxes is 2’ x 2’ x 2’,
even though the spatial volume of a room or area
is as important to its sonic qualities as the wall
construction.
The interior of each is painted black, or of a black
material, to focus the attention on the sonic
qualities, rather than creating objects to be looked at
from the inside.
Box 1 [left most]: 3/4” plywood :: 3/4” spacers :: 3/4”
articulated wood panelling
Box 2: 3/4” plywood :: 1/16” felt :: 3/4” spacers :: 3/4”
spaced wood panelling
Box 3: 3/4” plywood :: 1/16” felt
Box 4 [right most]: 3/4” plywood
JEREMY SHIMAN 19
JEREMY SHIMAN 21
Box 1, looking up
Box 1, looking forward
JEREMY SHIMAN 23
Box 2, looking up
JEREMY SHIMAN 25
Box 3, looking up
JEREMY SHIMAN 27
Box 4, looking up
JEREMY SHIMAN 29
Details of boxes 1 and 2
Detials of boxes 3 and 4
JEREMY SHIMAN 31
The importnace and ability of the ear is often overlooked. Its importance to the human psyche is
well documented. There are significantly higher rates of extreme mental illness among people who
have lost the use of their ears as compared to those who have lost the use of their eyes. There is also
anecdotal evidence of humans learning how to echo-locate, much like a dolphin or bat. Some people
have attuned their hearing to such an extent that they are able to tell the size and shape of a traffic
sign by how it effects the ambient noise around it. While cases like these are quite rare and indicate
extreme aural acuity, all people interpret a great deal about the world around them through the use
of their ears. Most people are intuitively able to discern between a small room like a bathroom, a
very large room like a cathedral nave, and being outdoors. With practice and attention, or for those
who use their ears more often, musicians for example, these abilities can be heightened.
JEREMY SHIMAN 33
14
14
Glass House
Philip Johnson
Philip Johnson’s glass house is an example where the

visual and the aural are almost entirely separated.
By creating a glass box, he draws an aural barrier
between inside and outside without a corresponding
visual barrier. This experience is heightened during
the approach to the building, walking along a gravel
path up to stone steps. Once on the steps and
through the door, the outside is then completely
gone.
JEREMY SHIMAN 35
14
14
14
14
14
14
14
14
14
JEREMY SHIMAN 37
14
14
JEREMY SHIMAN 39
“Hearing is associated with invisible boundaries that demark the region within which a listener can
hear people and events.”
- Barry Blesser and Linda-Ruth Salter, Sound and Architecture, page 56
JEREMY SHIMAN 41
11
11
Prometeo Musical Space
Renzo Piano
Renzo Piano designed Prometeo Musical Space

expressly for the production of a particular opera.
It was required that the performers and musicians
move throughout the audience during the perfor-
mances.
JEREMY SHIMAN 43
10
Sketch of Viipuri Library Meeting Hall
Alvar Aalto
The assembly room in Alvar Aalto’s Viipuri Library

was designed with sound in mind. His sketches
indicate study of the ceiling form to work within
his distinctive curvilinear language and still allow
the speaker’s voice to carry all the way through the
room.
JEREMY SHIMAN 45
There are many distinctions between the ear and the eye. One of the most interesting is the fact that
humans are unable to close their ears. Unless aided by an outside mechanism, there is no way not to
hear. Ears perform many functions that are more vital to human existence than eyes. In addition to
providing balance, they are the body’s alarm system.
Whereas the eye picks up information from what you are looking at and approximately 60˚ to the
left, right, top, and bottom, the ear does not discriminate based on direction. In addition to the
fact that the ear hears in every direction, it also informs the brain of the direction from which the
sound came. The anatomy of the eye causes it to relay information from the world in relatively
uniform [something]. The ear reacts to exterior stimuli, with each additional sound causing it
to relay something new, rather than a different version of what was already there. In this sense,
the eye portrays what can be considered a landscape, a single compilation of the colors, shades,
and distances independent of motion, change, or [sth] in the visual field; and the ear reveals an
eventscape, an additive environment exclusive to things that are actually happening, and, therefore,
making noise.
JEREMY SHIMAN 47
15
15
15
Steinway Model D Piano
3 Ways
Each of the drawings on the left is the same

Steinway Model D piano.
The top drawing shows only the pegs used to tune

the piano strings.
The middle drawing shows the pieces of each string

that do not vibrate when the corresponding key is
struck.
The bottom drawing shows the pieces of each string

that does vibrate when the corresponding key is
struck.
A piano is a very particular type of sound-producing

instrument. All of the pieces work together, and none
of them are unnecessary for the piano to sound as
intended. But what happens when they are isolated?
JEREMY SHIMAN 49
Poem
John Cage
the arts are not isolated,
froM one another

bUt engage in dialogue
thiS
understanding wIll
introduCe
new kinds
of spAtial
phenomenoN, however each art
can Do
what
An
otheR
Cannot
in Has been
predIctable
therefore, thaT
nEw
musiC will be answered by
The new
architecUre -
woRk we have
not yet seEn
- only heard 5
JEREMY SHIMAN 51
16
16
JEREMY SHIMAN 53
Two specific words are of extreme importance when considering how the ear relates to architecture
and the built environment: acoustic and aural. The two are inextricably related, and yet they present
two extremely different views of the role of the ear.
Acoustic relates to the physical properties of sound waves and, in relation to architecture, how the
built environment alters these waves as they move from their source to their receptor. Aural, on the
other hand, refers to the experiential qualities of sound in a space.
This distinction allows the most important questions of architecture to enter into the conversation
about how the ear exists in the built environment. Instead of being concerned with numbers,
coefficients, and factors, thinking about the aural begs more human questions.
How do different sounds or noises interact with the space? How might people experience sound in
a room, building, or city? What is it like to inhabit the space when it sounds a certain way? Are there
certain sounds or noises that are better suited to certain areas within a bulding or certain buildings?
How does the placement of a wall or the choice of a material influence noise and sound in a space?
JEREMY SHIMAN 55
13
St. Peter’s Chapel, Zumvitg, Switzerland
Peter Zumthor
St. Peter’s Chapel in Switzerland takes a different

approach, but is still entirely focused on how
design can be influenced by aural and experiential
desires. He specifically called for the floorboards
of the chapel to be warped and left the floor cavity
open below the floorboards, causing the floor to
creak underfoot and resonate throughout the
space. As someone walks through the chapel, their
movements are tracked, until they stop to pray.
JEREMY SHIMAN 57
13
13
13
13
13
13
13
13
JEREMY SHIMAN 59
13
13
13
13
JEREMY SHIMAN 61
Sound as a driving force for an architectural thesis comes with certain concerns and potential
problems, most importantly issues of representation and issues of proof. Visual questions are more
readily proven through traditional architectural means, as they require visual representations. To
represent sound, and more specifically to represent ideas about sound in space, ideas about sound
and noise, a medium that is experienced not only in the three dimensions we live in but also in
time, must be transformed into two dimensions in a meaningful and comprehensible way. The idea
of proof when investigating sound needs to be carefully considered. Unfortunately, there isn’t a
meaningful way to experience the effect of a sound or series of sounds in a space without actually
being in that space.
JEREMY SHIMAN 63
0 10,000’ 30,000’ 60,000’
Re-Sounding Penn Station
New York City’s Penn Station is the point of entry
into Manhattan for hundreds of thousands of people
every day. This study focuses on how to re-imagine
the interior of the station by focusing on the sonic
qualities and intentions of the designed space before
more traditional spatial qualities.
The design process results from a series of steps in
scale, zooming in to specific areas of Penn Station as
existing conditions, then altering them at the scale of
a detail section, before zooming back out to consider
the larger-scale architectural implications.
JEREMY SHIMAN 65
0 1,250’ 2,500’ 5,000’
JEREMY SHIMAN 67
0’ 25’ 50’ 100’
Existing Ground Level
Existing First Level Below Ground
0’ 25’ 50’ 100’
0’ 25’ 50’ 100’
Existing Second Level Below Ground
Existing Third Level Below Ground
0’ 25’ 50’ 100’
JEREMY SHIMAN 69
Existing Transverse Section, Looking West
0’ 32’ 64’
Existing Longitudinal Section, Looking North
JEREMY SHIMAN 71
0’ 16’ 32’
Existing Entry at 8th Avenue, Ground Level
Section of Existing Entry at 8th Avenue
0’ 16’ 32’
0’ 16’ 32’
Existing Entry at 8th Avenue, First Floor Below Ground
JEREMY SHIMAN 73
Detail Section of Existing Entry at 8th Avenue
Detail Section of Proposed Entry at 8th Avenue
JEREMY SHIMAN 75
0’ 16’ 32’
Proposed Entry at 8th Avenue, Ground Level
Section of Proposed Entry at 8th Avenue
0’ 16’ 32’
0’ 16’ 32’
Proposed Entry at 8th Avenue, First Floor Below Ground
JEREMY SHIMAN 77
Existing Transverse Section, Looking West
0’ 32’ 64’
Existing Longitudinal Section, Looking North
0’ 32’ 64’
JEREMY SHIMAN 79
0’ 16’ 32’
Existing Ticketing Area, Second Level Below Ground
Section of Existing Ticketing Area and Track Level
0’ 16’ 32’
0’ 16’ 32’
Existing Track Level, Third Floor Below Ground
JEREMY SHIMAN 81
Detail Section of Existing Ticketing Area and
Track Level
Detail Section of Proposed Ticketing Area and
Track Level
JEREMY SHIMAN 83
0’ 16’ 32’
Proposed Ticketing Area, Second Level Below Ground
Section of Proposed Ticketing Area and Track Level
0’ 16’ 32’
0’ 16’ 32’
Proposed Track Level, Third Floor Below Ground
JEREMY SHIMAN 85
How can architects understand the spatial qualities of sound and use them to make the ear a
more conscious and integral part of experiencing the built environment? There are certainly many
difficulties that arise when asking this question, but they must be harnessed and understood in such
a way that they make the overall understanding of this phenomenon stronger.
JEREMY SHIMAN 87
12
12
12
Falling Water
Frank Lloyd Wright
Falling Water, one of Frank Lloyd Wright’s most

well-known buildings was designed with the river
as a central point, and Wright’s desire to make
the river the single most important feature of the
building caused the sounds of the river to be equally
important. As people in the house move through
it, they can always hear the rushing, gurgling, and
bubbling of the river, but can only actually see it in
very specific moments. This experience is directly
linked to the aural aspects of the building, when and
where you hear the water and how that relates to
when and where you can see it, or even feel it.
JEREMY SHIMAN 89
There are many theorists outside the realm of traditional architecture who have recently begun to be
included in the discussion of sound and the built environment. Barry Blesser and Linda-Ruth Salter
have worked together to define ‘aural architecture’ as a means to qualify, quantify, and examine
the sonic experience of the built environment. They consider five different spatialities of sound:
social, navigational, symbolic, aesthetic, and music. These five different spatialities separate sound
into distinct arenas, but there is a common thread throughout – sound and the aural experience are
relative to a specific person in a specific place at a specific time.
JEREMY SHIMAN 91
1
Chamberworks: Horizontal ii & xi
Daniel Libeskind
Daniel Libeskind’s monograph ‘Chamberworks’ does

not have any direct relationship to sound, and the
title and content cause it to necessarily be included
in this discussion. Simply by calling the series of 28
drawings (14 vertical, 14 horizontal) chamberworks,
Libeskind relates them to the long tradition of
western classical chamber music. Furthermore,
the rigor with which they are constructed recalls
musical composition and how different lines
played by instruments interact with each other
over the course of a piece of music. His rendition
of these interactions is much more honest of how
instruments interact, rather than the distinct lines
and order imposed by standard sheet music.
JEREMY SHIMAN 93
6
Polytopes Cluny
Iannis Xenakis
A discussion of two-dimensional representations

of sound would not be complete without including
a mention of Iannis Xenakis. Xenakis was a
mathematician, composer, and architect. His most
notable architectural work was the Philips Pavilion
for the 1958 Brussels World Fair while working for Le
Corbusier. He was largely responsible for the design
of the building as Le Corbusier was busy working
on other projects at the time. This project brought
together many of Xenakis’ interests, allowing him
to explore a fully immersive environment, involving
architecture, light, and sound. His architectural
language was related to the language he used in his
musical compositions, which all related back to the
mathematics of hyperbolic paraboloids. His interest
in creating a fully immersive experience led to other
experiments in pre-existing buildings where he
installed both speakers and lights to create light and
sound shows that were later dismantled.
JEREMY SHIMAN 95
2
Tone Room Berlin & Tone Line Sculpture
Bernhard Leitner
Bernhard Leitner studied and drew relationships of

sound and space for many decades, creating a great
number of installations in which carefully placed
speakers would cause sound to seemingly move
around a room. His drawings are overlays of how the
sound can move around a single speaker set-up. His
investigations and drawings serve as a means for
understanding many of the implications for how to
depict motion of sound and how sound can influence
space.
JEREMY SHIMAN 97
Bibliography
Oscar Lopez. “AD Classics: Expo ‘58 + Philips Pavilion / Le Corbusier and Iannis Xenakis” 25 Aug 2011.
ArchDaily. Accessed 9 Sep 2015. http://www.archdaily.com/157658/ad-classics-expo-58-philips-pavil-
ion-le-corbusier-and-iannis-xenakis/
“Philips Pavilion” Wikipedia. Accessed 9 Sep 2015. https://en.wikipedia.org/wiki/Philips_Pavilion
Aesthetics of total serialism: contemporary research from music to architecture / Markus Bandur
Basel: Birkhauser, 2001 ISBN
Architecture as a translation of music / Elizabeth Martin New York: Princeton Architectural Press,
1994 (Pamphlet Architecture 16) ISBN 1568980124
Architecture of sound: designing places of assembly / Peter Lord, Duncan Templeton London: Archi-
tectural Press, 1986 ISBN 0851397263
Architettura & musica: sette cantieri per la musica dall’Ircam di Parigi all’Auditorium di Roma = Ar-
chitecture & music : seven sites for music from the Ircam in Paris to the Auditorium in Rome / Renzo
Piano Building Workshop Milan: Edizioni Lybra Immagine, 2002 ISBN
Arts and architecture: the Entenza years / Arts and Architecture London MIT Press, 1990 ISBN
0262071312
Buildings for music: the architect, the musician and the listener from the a century to the present day
/ Michael Forsyth Cambridge: Cambridge University Press, 1985 ISBN 0262060892
Formalized music: thought and mathematics in music / Iannis Xenakis ISBN 0253323789
Frank Gehry: the city and music / Jeremy Gilbert-Rolfe with Frank Gehry London: Routledge, 2002
ISBN 0415290082
Hans Scharoun: the Berlin Philharmonic Concert Hall, Berlin / text by Hiroshi Sasaki / Global Architec-
ture 21 Tokyo: ADA Edita, 1973
Jorn Utzon: the Sydney Opera House / Francoise Fromonot Corte Madera, CA : Electa/Gingko, 1998
ISBN 3927258725
Mark Fisher: staged architecture / Eric Holding Chichester: Wiley-Academy, 2000 ISBN 0471987069
Music architecture / edited by Roland Ritter and Michael Haberz Graz: Haus der Architektur, 1997
ISBN 3901174265
Site of sound: of architecture and the ear / Brandon Labelle, Steve Roden Los Angeles, CA : Errant
Bodies Press in association with Smart Art Press, 1999 ISBN 0965557022
Sonic process : a new geography of sounds / Christine van Assche Barcelona, Actar, 2002 ISBN
8495951134
Sound and the visual arts / Jean-Yves Bosseur Paris: DisVoir, 1993 ISBN 2906571261
Soundscape of modernity: architectural acoustics and the culture of listening in America, 1900-1933 /
Emily Thompson Cambridge, MA : MIT Press, 2002 ISBN 0262201380
Soundspace: architecture for sound and vision / Peter Grueneisen Basel: Birkhauser, 2003 ISBN
3764369752 Basel: Birkhauser, 2003 ISBN 3764369752
Space calculated in seconds: the Philips Pavilion, Le Corbusier, Edgar Varese New Jersey: Princeton
University Press, 1996 ISBN 0691021376
What a wonderful world: music videos in architecture Groningen: Groninger Museum / Dienst Ruim-
telijke Ordening Gemeente Groningen, 1990
Xenakis / Nouritza Matossian London: Kahn & Averill, 1986 ISBN 0900707828
Jong, Klaas De., ed. Music, Space and Architecture. Trans. Billy Nolan. Amsterdam: Amsterdam
Academy of Architecture, 2012.
http://www2.cpdl.org/wiki/index.php/Spem_in_alium_(Thomas_Tallis)
http://www.charlespetzold.com/blog/2013/09/The-Immersive-and-Transcendent-Forty-Part-Motet.
html
http://www.nytimes.com/2014/03/21/opinion/arieff-the-search-for-silence.html?_r=2
JEREMY SHIMAN 99

Shiman Jeremy Aural Spatialities

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Shiman Jeremy Aural Spatialities

Uploaded by

Copyright:

Available Formats

Aural Spatialities

An Investigation of the Architectural Implications of Aural Perception

A departmental thesis submitted in partial satisfaction of the

What do your eyes tell you?

How do you interpret this information?

What do you hear?

How do you interpret this information?

What do your ears tell you?

Think about this carefully.

This matrix is an amalgamation of different ways

There is no singular way to draw or visualize sound,

the arts are not isolated,

froM one another

Janet Cardiff combined music, sound, and space

Christopher Janney has made multiple engaging

M. W. Burns sound installation Sinker is an extremely

Philip Johnson’s glass house is an example where the

Renzo Piano designed Prometeo Musical Space

The assembly room in Alvar Aalto’s Viipuri Library

Each of the drawings on the left is the same

The top drawing shows only the pegs used to tune

The middle drawing shows the pieces of each string

The bottom drawing shows the pieces of each string

A piano is a very particular type of sound-producing

froM one another

St. Peter’s Chapel in Switzerland takes a different

Existing Ground Level

Existing First Level Below Ground

0’ 25’ 50’ 100’

Existing Second Level Below Ground

Existing Third Level Below Ground

0’ 25’ 50’ 100’

Existing Longitudinal Section, Looking North

Existing Entry at 8th Avenue, Ground Level

Section of Existing Entry at 8th Avenue

Existing Entry at 8th Avenue, First Floor Below Ground

Proposed Entry at 8th Avenue, Ground Level

Section of Proposed Entry at 8th Avenue

Proposed Entry at 8th Avenue, First Floor Below Ground

Existing Longitudinal Section, Looking North

Existing Ticketing Area, Second Level Below Ground

Section of Existing Ticketing Area and Track Level

Existing Track Level, Third Floor Below Ground

Proposed Ticketing Area, Second Level Below Ground

Section of Proposed Ticketing Area and Track Level

Proposed Track Level, Third Floor Below Ground

Falling Water, one of Frank Lloyd Wright’s most

Daniel Libeskind’s monograph ‘Chamberworks’ does

A discussion of two-dimensional representations

Bernhard Leitner studied and drew relationships of

You might also like