I have maintained a deep interest in blurring the boundariesbetween various artistic disciplines throughout my studies and professional practice. Currently, I am focusing upon utilizing techniques and constraints present within the production of synthetic music and immersive virtual environments to influence my architectural thought and potential modes of production. Since the advent of the computer chip, all of our productive capacities have become more computational driven, whether through the direct inculcation of codes from our CPUs or through our hands mutating from the psychological affective range of computer thought. I see computation as an inextricably intrinsic property within our universe and seek to utilize this property to reconceptualize the current state of architecture.
As such, I am exploring methodologies driven by pseudo-genetic sequencing as well as strategies that acknowledge the presence of forces exterior to the architectural form with the intent to produce new virtual sculptural “somethings”, an architecture of entrainment, hybridic. I believe that we are approaching a period within which incredible changes and advancements will be made within the human species and as architects we responsible for acknowledging the presence of certain possibilities and consequently developing new ways of thinking and doing on order to engage with the deep and profound ideas inherent within the various potentialities.
The process germane to DJs and live electronic musicians forms a common analogue to possibilities within the realm of architecture. These musicians are capable of reacting on the fly to constantly shifting crowds with the intent of catalyzing immersive states through triggering affective feedback loops. I believe architecture can be affectively potent and can react on the fly to dynamic forces, and it can do such through the inclusion of techniques similar to those used in the production of music (e.g. filter banks of algorithms capable of morphing waves into pulse or saw forms). I also believe architecture must on many levels accept the limitations and proclivities of human thought and action and that architecture can subsequently utilize these conditions to retain a humanizing power, a rhythmic magnetism that increases the degree of engagement of the occupants. Architecture can be similar to an aural composition, harmonious, disharmonious, humanizing, autarkic, rhythmic, sexy.