IDEA(L) - The tool: Dynamic Mechanism.

pi·an·o1 /piˈænoʊ, ˈpyænoʊ/ Pronunciation Key - Show Spelled Pronunciation[pee-an-oh, pyan-oh] Pronunciation Key–noun, plural -an·os. a musical instrument in which felt-covered hammers, operated from a keyboard, strike the metal strings.

I begin with passion, a thirst for that unknown knowledge yet to be revealed, researched and discovered. It is through this culmination of training and discipline where it all comes together. The project in its final moment becomes a projection of a journey; a narrative, a poetry of experience from my own perceptions, realized into architectural form. This is what Thesis Architecture should be about.

The Instrument: The Piano -

"There is only an art when you play, and only then you will become a human" - anonymous
The instrument, a composition of a sum of its parts leads the way to investigation. In this first stage I picked an instrument with personal meaning. A tool that I always found myself linked to. I chose the piano. A simple harmony of percussion movement that is a culmination of dynamics resulting into one bundled momentum. It begins with an interaction between object and human: that single touch - the primary impulse that triggers frenetic movement resulting into infinite resolution: music. It is through this music that the energy emerges from within its wooden encasement. the sound of a piano is very distinct. It mimicks the sound of the human soul. It projects the thought and emotions of the one who plays it, as if the piano becomes the tool that allows the player to speak without its tongue, and for the audience to hear without their ears. There is tension; between the fingertips and the wooden keys, there is strength and confidence with each strike, and there is power in the sound that it creates as if it solidifies and sculpts itself in space and time. This is why I love it so much. I am the player. I learned a language that speaks through my fingers, and sounds like a beautifully distorted heartbeat. It can mimick sadness it can mimick joy, it is an object that tells the story of the player, and therefore it is unique each time around.

The module: Piano key - The action strike mechanism
1. How can a single action trigger multiple impulses to create a sound?

I chose the upright module because it is the type of piano that I play. It also in its form and composition allows for exploration within three axes. The thickness, the length, and also its height. I pulled off the concept of the single key - strike mechanism because there is a relationship within the interaction of its parts.

The action play mechanism begins with the single key. Once the player strikes, it triggers frenetic movements of dampers, hinges and springs. These make sure that the final strike of the piano is controlled, and they all tranfer down to the final hammer, attached to the steel string. The hammer is felt covered so that the string would vibrate consistently. One hit and the first note is played. This single module is repeated variedly in length of string and the angle of direct contact from the hammer. This is designed to allow for different frequencies and amplitudes of vibrations. These variatiants creates the different and distinct tonality only heard in a piano.

This drawing begins my investigation on what the action strike mechanism can do for me. Exploring its relationships, not as a piano but simply by its pure mechanics. The red lines indicates the angularity of each element from one angle to the next during their motion. The red dot indicates the location of the hinge mechanism, and the black indicates the areas of the module where compression (the chain of impulses) occurs, and a single juxtaposed movement is created.

2. Is it possible to isolate the dependent elements and allow it to become independent?

This is quite an abstract idea. To basically pull apart or simply "isolate" the pieces in its exact location to see if its connecting parts were to be missing, can it form new connections? In the drawing, the dashed forms are the independent members. As observed, no new connections are made, clearly the parts need to co-exist together in order for the interaction to take place.


3. Hinge and the derivation of Field: Can a field be derived through the intersections of its movement?

This drawing begins to address the emergence of a field condition within the movement of the module. By extuding and projecting the angles of movement, and indicating the zones of interaction, a new field has actually been created through its intersections of the already existing field. This result yields into my next analysis, which will now focus on the idea of field...but what is it about the field that interests me in this interrogative assessment? I have to continue. My goal is to define this specific field, and how it can have a relationship between the field in its macro level (the sum) and the micro (its parts)