TALKATIVE SPACE

TALKATIVE SPACE

Presented by: SHAI GERNERIstructor: Dr. Arch. ERAN NEUMAN

David Azrieli School of ArchitectureTel-Aviv University 2011

table of contents

1. what is talkative space?

2. primary research 2,1. Gestalt Psychology 2.2. Phonetics 2.3 Phonesthetic code 2.4. Project’s Theme

3. developing the archisthetic code 3.1. Consonants 3.2. Vowels * Syllables 3.3. Pitch 3.4. Speed & Intermissions 3.5. Amplitude

4. creating an archisthetical space 4,1. The time dimension 4.2. 4D Vector dynamic design 4.3 Scale in Archisthetic design 4.4.Spatial relations

5. archisthesia research & explanatory center 5.1. Main programmatic vision 5.2. Programme 5.3. Plans & order of visit 5.3.1. Ground floor plan 5.3.2. First floor plan 5.3.3. Second floor plan

Can you design a building using only one word?Can you define a wall’s transparency by controlling the pitch of your voice?

This research project, named “Talkative Space”, examines the connection between hu-man speech and form generation, and is developing a planning instrument, which will allow designing architecture using speech.

Based on “Phonesthesia”, as it primarily was defined by Gestalt psychologists- correla-tion between speech and forms- Speech signals are being translated into spatial archi-tectural values, in accordance with human intuition. The research deals with the more elaborate dimensions’ connection that exists between architecture and speech, and aspires to create “ARCHISTHESIA”- intuitive correlation between the two worlds.

The planning method is being demonstrated in an Archisthesia Research Explanatory Center, as it offers unique spatial experience designed by this instrument.

1 WHAT IS TALKATIVE SPACE?

One of these forms is called “TAKITA” and the other “MALOOMA”.

Which is which?

2 PRIMARY RESEARCH

The idea for the project derived from the fascinating field in Cognitive psy-chology called “Gestalt Psychology”, which focuses on the human perception of his surroundings, and how we interprate the information perceived into understanding what surrounds us. the field’s motto is

“THE WHOLE IS GREATER THAN THE SUM OF ITS PARTS”

The images presented here examplify the ways our brain completes the visual missing data delivered by the eyes into becoming a meaningful image.

in the colored image try to stare for 30 sec. on the upper white dot, and then look at the lower one...

2.1. GESTALT PSYCHOLOGY

A phenomena examined by the Gestalt is “SYNASTHESIA”- connection or mix-ture between our senses. this represents the way a sysnasthetic person sees the multiplation of the numbers written below (left) or PI (right).

Daniel Tammet, synasthethetic

Within synasthesia exists a more common phe-nomena called “PHONESTHESIA” - the human capacity to link between forms and elements of speech (syllables, consonants, etc.). Take the former example- “TAKITA” and “MALOOMA”. Phonesthetics” rarely feel the need to explain why it’s “clear that this shape is called MALOOMA”, though allegedly, there is no logical reason.

2.2. PHONETICS

In linguistics, Phonetics deals with the physical behavior of speech (physical production and perception of speech in human body, and ecoustical behavior of our voice), unlike Phonology, which concentrates on the meaning embodied in what we say.

Our speech is divided into 3 major elements:

1. CONSONANTS: production of consonants is made by different speech organs as shown in the image.

2. VOWELS: made by different situation of our mouth volume , and by different lips positions as showm.

3. TONES: used mostly in far eastern l aguages, same written words would bare different meaning if read in different tones. made mostly by PITCH variation of our voice.

IA EOU

Phonetitians had created the IPA- Interna-tional Phonetic Alphabet, which embodies and maps all the speech made voices. on the left handside of the consonants table (left) there are groups of consonants that share a similar acoustic behavior (such as T,K,P or M,N).

This is an output of voice acoustic signal analyzed in PRAAT- phonetitians software. The upper graph is the frequency graph, and represent the simplified signal, as amplitude (Y) behavior through time (X). The lower graph is spectro-gramme of elaborate sub-frequencies that construct our speech.

Red dots are FORMANTS, that are the frequencies which combine together to a speech signal, as basic color combine together to create other colors.

Blue dots represent the PITCH- difference between levels of voice (BASS, SOPRANO), and are the main element responsible for the differentialities between one’s voice and another.

2.3. PHONESTHETIC CODE

In order to understand why TAKITA and MALOOMA are so intuitive for everyone, i have made a survey, examining peo-ple’s intuition regarding speech-form relations, architeturally oriented.

The examined relations were: • Syllables-Forms: - curved\sharped.• Vowels- colors.• tone/pitch- Thickness, transparency.• Loudness, Vowels- Volume (space) & orientation.• Combinations.• All- Hierarchy.

FINDINGS & CONCLUSIONS:

1. IPA Alphabet groups categorizing correlates with form categorizing.

2. Longer words (more syllables) are identified with more complex forms.

3. Colors are a phonesthetic disaster …4. People can identify evolutionary formal process.

First was the shape named “WEENYAMEI”, and then joined the shape “SHUILONAO”, (hierarchy is important). What would it look like?

A B C D

This is a shape named “KORICHIBA”. Pronounce it once at your lowest bass voice, and once at your highest soprano voice. Which pronunciation fits what transparency?

A. Bass= solid, Soprano= transparent

B. Bass= transparent, Soprano= solid

Which shape is called “ZAZODAGO”?

A B C D

Which shape is called “PITAKETA”?

A B C D

2.4. projects theme

PHONESTHESIA = 3D PHONESTHESIA ?

the primary research goal was to realise whether the phonesthetic intuitive correlation still exits not only in 2d, but also in 3d and multiple dimention forms.

PHONESTHESIA + = ARCHISTHESIA ?

which led to the main theme- examinig the consequences regarding architecture.:can the same intuitive correlation- «archisthesia»- exist between SPEECH & ARCHITECTURE?

«THE PUBLIC», presenting the field of research. collecting new more elaborated database.

La grand Arche, Paris, France. Johann Otto von Spreckelsen, Paul Andreu

Jewish museum, Berlin, Germany Studio Daniel Libeskind

how would you name these buildings?

Shell house, Kitasaku , Japan. Kotaro Ide, Artechnic Architects

Shell house, Kitasaku , Japan. Kotaro Ide, Artechnic Architects

3

basic intuitive assumption

Given that Phonesthesia is real, and can be more than just TAKITA & MALOOMA, a personal intuitive assumption had to be taken, and to create an initial speech-form code.

Intuition led to the difference between CONSONANTS & VOWELS. The consonants are to become the main form typecast definer, and the vowels are sort of a formatic coef-ficient.

DEVELOPING THE ARCHISTHETIC CODE

3.1. CONSONANTS- the form generator

The consonants are responsible for the form’s main charac-ter. they are setting the type of the line that draws the form (straight\curvy), and the type of corners it will have (sharp\round).

There are 5 major groups of consonant, that create the code, in accordance with the consonants group it the IPA table.

T, K, P, Q

B, D, G, J

M, N, L

R, V, Z

F, TH, S, SH

3.2. VOWELS- volume’s character

As noted, The vowels are made by different position of lips and mouth’s volume, and that’s the origin for our intuitive perception of their effect on the form’s volumetric character. based on the main 5 vowels, there are 5 schematic forms, that imitate the mouth’s posistions. they would fuction as a volumetric coefficient, as explained below.

I

A

E

O

U

0.5h, 2l

1h, 1l

2h, 0.5l

1R

0.66R

l

h

R

The combination of a consonant and a vowel creates a sylla-ble, so in the archisthetic code. The consonants set the basic form, regarding amount and type of corner and lines, and the vowels set the volume (or erea when in 2D) of the form as a “formal coefficient”. Look at the 1st syllable example- “TA” has sharp corners and straight curvus (due to T), and has a “high” and “narrow” character (due to A).

SYLLABLE= CONSONANT+VOWEL

TA

DE

MI

RO

FU

3.3. PITCH- transparency and thickness

The pitch of our voice would mean the differece in our voice when we say something in a bass voice or soprano. it is also the major element responsible for what seperates one’s voice from another.the architectural correlation refers to an object’s thickness and transparency- the “higher” the voice is, the object will be thinner and more transparent.

in the graph, the pitch is being represented by the blue line, and reflects an uprising syllable (from left to right).

3.4. INTERMISSIONS & SPEED- complexity

de dede de de

Since people tend to identify long or compex words with complex forms, the code enables controlling the complexity of forms and spaces in the archisthetic designing instru-ment. The secret lies in the breaks between the words. a break longer that 0.25 sec. usualy means a difference be-tween two words. hence, anything said between two breaks is considered a word.

WHAT’S THE METHOD?As explained so far, a single syllable would have a basic triangular\circular form, meaning 3 corners. For every further syllables in the word there is another corner (which has its own properties by the Archisthetic code), and to-gether the mold into a more complex form, that has “little bit” of each syllable.

everything i say will be one word

everythingisaywillbeoneword

KE NOZIBA BAZIKENO

3.4. INTERMISSIONS & SPEED- complexity

This is an example for the complexity control element:if the word BAZIKENO is said with slight abruptions between the syllables, it would loft a space made by 4 rela-tively simple forms.if the same word is being said fluentely, than it would create a more complex space lofted from a form that embodies elements from the four different syllables.

3.5. AMPLITUDE- the scale coefficient

One of the strongest intuition we have that refers to the volume’s scale, is the LOUDNESS. The louder we speak, the bigger the form is. as shown at the spectrum graph below, the loudness is being measured by the amplitude of the voice frequency, which is being translated into a scale vari-ant in the archisthetic code.

the model below examplifies the word “TOKIMERA” be-ing said twice- inner form represents fixed loudness, and outer form a variable loudness.

ME MERA RAKI KITO TO

3.5. AMPLITUDE- the scale coefficient

“TOKIMERA” - The combination of the two LOUDNESS differentiated forms

CREATING AN ARCHISTHETIC SPACE

TIME LENGH of a pronounced syllable\ word\ sentence is what sets the forms’ order and deployment. If you prolonge a word or a syllable, its relative effect on the spatial form and characteristics grows proportionally.

In this dynamic space, archisthetically planned spaces can be generated. Based on the presented design code rules, one can watch in real life-size his design, and walk inside it. According to the survey conclutions, people can identify evolu-tionary design process (more than one design itteration on the same space). This intriguing fact, along with other REAL-TIME virtues, were the inspiration for designing a dynamic “SPACE GENERATING SPACE”.

4.1. THE TIME DIMENSION

4

LOUDNESS GENERATED CYLINDERthe amplitude peak of the pronounced voice signal sets the cylinder’s extraction lengh

WALKTROUGH CYLINDERConstructed by multiple cylinders that respondes to the speech input. The cylinder’s lengh represents the time axis.

PITCH GENERATED CYLINDERThis cylinder sets the transparency level of the fac’ade, according to the pitch frequency level of the pronounced voice signal. the inner plate is the dynamic one, and is responsible for the amount of the murky fluid inside, and by so controllling the amount of light penetrating through the surface. illumi-nated during night time.

“WALK YOUR WORD”- space generating instrument

Apart from the integration of time as an axis in the archisthetic de-sign code, there’s another way of generating a space, which is based on VOICE ORIENTATION SENSORS. The sphere is equiped with an array of microphones, that can calcu-late the direction in space the speaker is heading, and command the cylinders (similar to the ones exhibited) to move in accordance with the archisthetic code.

The designer actualy designes the space he’s attending at a certain moment, and can perform multiple command itterations on the same space.

The name “CEREBRO” in spanish means ‘brain’, and is nicknamed like that due to the similarity to the X-MEN unique sphere space.

4.2. 4D VECTOR DYNAMIC DESIGN- “CEREBRO”

The archisthetic design code is not constrained to a certain scale.It can generate an immense hall, a building fac’ade, a room or can be usefull for industrial design as well. No archisthetic design element is lost during a transition through the scales.

4.3. SCALE IN ARCHISTHETIC DESIGN

The relations between an archisthetical designed space and a stand-ard straight lines space create different programmatic potentials.

4.4. SPATIAL RELATIONS

A: Archisthetic skin: external fac’ade

B: EXTERNAL- ARCHISTHETIC INNER- CASUAL

C: EXTERNAL- CASUAL INNER- ARCHISTHETIC

D: EXTERNAL- ARCHISTHETIC INNER- ARCHISTHETIC

• Presenting the field of research.• Collecting new more elaborated database.• Presenting phonetic & psychological origins.• Presenting language history & development.• Differences between languages.• Experiencing Archisthesia- throughout the

building & dynamic experience.

ARCHISTHESIA Research & Explanatory Center

The idea to create The Research & Explanatory Center derived from the ini-tial desire to seek a new way to look and understand architecture. Through-out the pedagigicly oriented visit, the visitor is encouraged to inspect the space he’s attending in an archisthetic way.

5.1. MAIN PROGRAMMATIC VISION

5

The programmatic design is based on the chronologi-cal order of elements that integrate into the TALKA-TIVE SPACE research project as a whole:

5.2. PROGRAMME

ENTRANCE HALL

LANGUAGES

facility, management & other

primary research explanatory

dynamic interactive spaces

basic archisthetic code spaces

DYNAMIC WALKTHROUGH

CONCENTRIC DESIGNED

DYNAMIC SPHERE

INTERACTIVE SURVEY

GESTALT

PHONETICS

PHONETSTHESIA

CONSONANTS

VOWELS

PITCH- transparency

SPEED- complexity

AMPLITUDE- volume

RESEARCH OFFICES

CAFETERIA

The visiting experience is organized in such manner that the further the visi-tor goes into the ARCHISTHESIA Explanatory & Research center, so grows in knowledge and understanding what is the Archisthetic design instrument is all about, hence a mild relaxed uprising slope characterize the visit, up until the cli-max- the “CEREBRO”, in which the visitor experiences generating an archistheti-cal concentric space.

The Building is comprised of 3 main elements:1. Rectangular SKIN, which sets a concentric frame to the research center.2. “TAKITA” shape CURTAIN WALLS that apply segregations between the dif-

ferent spaces. and as rooftop. The TAKITA shape appers only in plan view, but has a more “MALOOMA” properties in sections and facades, and all together create a 3D independent entity within the facility.

3. A variety of PEDAGOGIC SPACES, explaining step-by-step the develop-ment & use of Archisthesia.

5.2. PROGRAMME

1

2

3

• Entrance & Reception• Cafeteria• EXPLANATORY HALL:

- interactive survey room - Gestalt Psychology - Phonetics - Phonesthesia - 3D Phonesthesia

• Consonants spaces

5.3. PLANS & ORDER OF VISIT

INTERACTIVE SURVEY

CONSOSNANTS

ENTRANCE HALL

TOILETS

CAFETERIA

RESEARCH EXPLANATORY HALLS

CAFETERIASTORAGE

GROUND FLOOR PLAN5.3.1.

Entrance & Reception 2. Gestalt explaination room1. Interactive Survey RoomThe beggining of the journey, in which the vis-tors experience a series of questions- the visitor answers which of the different forms displayed is the most adequate to the word/syllable that is being heard, and other possible questions.The survey room 2 main functions are:1. Creating the first contact of the visitor to the Archisthetic world.2. Gathering data for the Archisthetic database in order to create a more reliable code.

Getting acquainted with the sen-sual misconceptions and inquiring the way we percieve our world.


2. Phonetics explaination room 3. Phonethesia explaination room

The linguistics origin of our voice production, leading to the phonesthetic variation.

The visitor is exposed to the survey real-time analized outcomes, and encounters the transo-frmation to 3D for the first time, as TAKITA & MALOOMA are viewed at front as 2D, but when walking closer, differences in lengh, volume & texture are revealed.


4. Consonants hall

According to the Archisthetic code, this is the first spatial Archis-thetic experience.Walking into the the shapes of each phonetic “family” of conso-nants that has a unique formal expression- by the common intui-tion.


TAMA DARAFA

FIRST FLOOR PLAN5.3.2.

OFFICES

DYNAMIC SPACES MAINTANANCE ROOM

SPEED

VOWELS

PITCH

TOILETS

• Vowels hall• PITCH- Transparency hall• BREAKS & SPEED-

Complexity• Research lab & offices• Dynamic spaces maintanance

room

5. Vowels hall

This spatial experience represents a loft of the vowels, ordered by their acoustic signal’s hierarchy. As explained- the vowels archis-thetic representation is deriving from the MOUTH POSITION when pronouncing them.

The construction profile of the vowels hall are at the shape of the releavant vowel.


IA EOU

6. PITCH- transperancy hall

Walking inside this evolving space examplify the alteration of pitch in an uprising scale- the further you walk inside, the thinner and more transparent the walls become.

On the right handside, across the wall, there’s the cafeteria’s second floor- a bar.At the end of the pitch hall there’s a viewpoint looking inwards to complex.


KE NOZIBA BAZIKENO

7. Breaks & Speed- Complexity

In the complexity control demonstration hall 2 structural elemets immerge into one space. This is the first multi-form space in the Archisthesia Center, yet not the last.The longtitude axis demonstrates pronouncing 4 seperate syllables, and the latitude axis demonstrates merging them into one word- hence the more complex form.


SECOND FLOOR PLAN5.3.3.

• AMPLITUDE- Volume• Languages hall• “WALK YOUR WORD”

dynamic walkthrough• Concentric designed hall• “CEREBRO”- dynamic

sphere

LANGUAGES

DYNAMIC WALKTHROUGH

CONCENTRIC DESIGN

AMPLITUDE

DYNAMIC SPHERE

ME MERA RAKI KITO TO

8. Breaks & Speed- Complexity

In the complexity control demonstration hall 2 structural elemets immerge into one space. This is the first multi-form space in the Archisthesia Center, yet not the last.The longtitude axis demonstrates pronouncing 4 seperate syllables, and the latitude axis demonstrates merging them into one word- hence the more complex form.


9. Languages hall

i love you pretty girl

ani ohev otach yalda yaffa

watashi wa anata ni kireina nanoko ga suki

eu te amo muito menina

wo ai ni piaoliang

Being the first interactive space, the language hall brings to light (by all means...) the differences between languages. A single same sen-tence- “I LOVE YOU PRETTY GIRL”- said in a variety of languages, that create these bodies, each one marked by national flag color.When touching such body, it illumunates, and the sentence is being heard.



10. “WALK YOUR WORD” Dynamic walkthrough

In order to experience the Archisthetic designing code in an IN-TERACTIVE REAL-TIME , this multi piston cylinder responds to a word being pronounced prior to entering it.

After setting the form by a pronounced word, the visitor can walk inside it, and pronounce other voice signals, if formal itterations are desired.

KE

NOZI

BA


12. Concentric Designed Hall

After using the time as an axis in generating the desired space, Voice Signal Orientation Locators analyze the direction in space to which the voice signal is directed, and will design the space adequately.

In this space, the designer stood in the middle of the space, which initially started as a sphere, and said “BA ZI KE NO”- each syllable to a different direction.


13. “CEREBRO”- Dynamic sphere

The climax of the Archisthesia Research & Ex-planatory Center is this dynamic sphere, in which the visitor can feel the uniqe Archisthetical design experience. It is a TALKATIVE SPACE, that deforms according to all the Archisthetic code variants- • Form characteristics- by consonants & vowels• Transparency characteristics- by pitch• Formal complexity- by speed & intermissions • Volume characteristics- by loudness

All of its qulities defines the dynamic sphere as a MULTI- DIMENTIONAL design instrument.

“Now a pattern language is about patterns being like words. They stay the same but can be combined in differ-ent ways like words in a sentence. They can be used as in a network where one will call upon another (like a neuron network). When you build something you can put pat-terns together to form a language. So a language for your house might have patterns about transitions, light, ceiling height, connecting the second floor to the ground.”

- Christopher Alexander-

THANK YOU

RHINO2

RHINO1

TALKATIVE SPACE

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