a c o u s t i c [ l y r i c ] m e c h a n i s m
ARCHITECTURAL DESIGN [FOUR] - AT THE PRECIPICE WE CHANGE
The time it will take to reach 2062, will see ernormous changes, which require major criss, even cataclysm, before it can materialize. It will be challenging to move away from the more-is-better economic model to one which accepts that our resources are finite on a plantery scale. It will take a catalyst to get to a brighter world.
CLIMATE CHANGES _ With the extreme unpredictability of climate, caused by human activities, it will force populations to change. The melting of the ice caps, have slowly changed the atmosphere. The air is foggy and less sunshine reaches us. Winters are colder and summer temperatures are increasing. It can’t be predicted how the climate will continously change.
GROWING POPULATION _ In 40 years time the world’s 10th billion citizen will be born. According to the UN, Africa has one of the highest fertility rates.
1950 2011 2100
Africa 229 895 1 045 923 3 574 141 people
Ground floor becomes over-populated. Lost space within the city is re-used for high-rise buildings, and when vertical space is depleted a secondary ground floor is created. The strongest will be those who can do more with less. Those who have successfully embraced radical sustainability, renewable energy and creative re-use of just about everything.
AN INVISIBLE MEDIUM _ ubiguitous, convenient, unaware. Strength, direction and duration changes. We can interact with the invisible medium / Strength and shape becomes a conscious musician.
MARTIN KIM LUGE - THE DIGITAL WIND _ The transfer of data is becoming more and more unvisible. Wireless technologies like mobile phones, RFID, bluetooth and wifi, make sharing information both more ubiquitous and convenient. Both real wind and wireless networks alike, change their direction and strength. The [Digital Wind] instrument transforms the signals into sound. As feedback the visitor can hear a real wind sound. A stronger sound corresponds to a better quality of the signal. By walking around with the instrument, the visitor can interact with an invisible medium. The surrounding field is given shape and strength. We can create an ensemble of wind sound.