Usually late in the consideration of architectural form is the affects upon the acoustic presentation of a given internal (or external1) space. Shape and materials all vary the temperature of sound within a space. The way a space causes humans within to move and interact adjusts how they hear each other within the parameters of the built physics. The playing of recorded sound becomes a situation in which the structure informs the sound but the placement of loudspeakers can vary the direction of this shaping, while the allowed motion of people’s organic bodies further adjusts that which is heard by a given body while shaping the heard environment of others.
Four speakers on motorized platters seek to make apparent the architectural effects of their environments through reflections on surrounding walls and the phasing and interference artifacts produced upon the projected frequencies. These speakers individually produce pure frequency tones. Each of these is cradled in a lazy-susan style platter, moved by a motor directed by microcontroller through custom programmed arrays of motion. These tones are intermittently deflected and absorbed by participants within the room.
1 While this is primarily focused on the internal. The affects of architecture can be similarly analyzed in the context of the reflected amplifications and dissipations of sound on any city street, where corresponding parallel wall create standing echo chambers. Similarly the ways in which barricades on highways are capable of amplifying highway noise to a neighboring suburb.