ACT 01 - Sacred/Profane

Within a predominant monoculture, the depictions of the sacred and the profane are weaponized to control and erase the imagery of counter-cultural movements, thereby further marginalizing their members. The sacred is elevated as an untouchable realm associated with established values, while the profane is cast as deviant and rebellious. Counter-cultural movements, seeking safety, work to unlearn narratives and reclaim symbolism to represent their journeys, create new spaces, and build community.


Building in research on the idea of sacred and profane, this ritual object is a representation of indigenous drum circles and adjacent customs and ritual practices. The materiality is a direct symbolism of the body (wood) and skin (leather). The shape is a shrine, a spiritual/holy space, a form of archiving, a vessel, a body, a temple. The preservation and acknowledgment of concrete is a symbol of the dichotomies between ritual practice and modern day sound system/club culture, with particular homage to warehouse raves and the use and abstraction of existing concrete structures as ritual as collective dance is a ritual practice. communities hold themselves together with simple bindings/shared experience, material propitiates of of leather, they are mailable natural and ever changing shapes.

ACT 03 - Dirt Palace

This space addresses the remnant between the circadian. a space for ritual sonic practices, transforming the profanity of existing surrounding infrastructure into a sacred ritual space through the manipulation and orientation of sound. The vibrations from the highway environment resonate in this cavity creating a meditative space addressing the intersection of the highway and an invisible block through the sacred and profane. In act 1 me and jay explored the sacred and profane though the dichotomies between club culture,  church and religion in their symbolic and ritualistic intersection. During act 2 I Began to explore different ritual practices connected to sound and meditation, specifically the Lenape water drum and how meditation circles are structured to bring community together through sound and the body. The structure of the closed loop both symbolical and structurally influenced my artifact. In my artifact I explored ideas of skin, the body and preservation through natural and man made material studies with the use of leather concrete and wood. Thinking about the symbolism of the church in its sacredness and the profanity of underground music and counterculture music through the preservation of concrete as the preserved object. This artifact is a preservation of both the ritual practice of meditation and of the underground and profane. Structurally I was thinking of the closed circle, the way the communities of the sacred and profane hold each other together, each ritual is individual and self sufficient. When choosing a site for act 3 I was exploring the sonic properties of different spaces and a came across a patch of grass surrounded on all sides by highway infrastructure that I was instantly drawn to. The space connected to the idea of profane spaces as it was neglected, almost invisible but preserved in its blandness because of its location. In experiments exploring the sonic propertied of the materials in the landscape vibration became a very important element in the design process. The vibrations from the highways transmit sound into the space through the concrete of the highway columns, steel pipes and soft soil. I learned through taking sonograms of my recordings that high frequencies are transmitted though steel, resonant mid range frequencies are transmitted though concrete and low frequencies are transmitted mostly though soil. I then made small scale models where I played field recordings of the space and of the vibrations from the highway though their respective materials to think about how I can orient sound in the space, and transform the profanity of the highways into a sacred ritual and meditative space. I began excavating the neglected plot as to submerge the space into the soil. The columns from the highway protruding through the spaces to bring sound into the space, and the large aperture to bring out of the space became an important part of the design as it presented a ritual cycle of listening and performance, meditation and amplification receiving and transmitting. My material studies informed the program as various spaces within the excavation will sound different, with the main space translating full range sound from the highway. During the day the space is a place for meditation as the vibrations from the highway will be transmitted and resonate though the space though various materials, translating the profanity of sonic properties of the highway into a space for deep listening and meditation. Each material has a purpose in creative a unique experience as they all have different acoustic properties. During the day on the highway the space acts as a threshold unknowing of drivers as they contribute to a ritual act in passing. During the night, the space is open for use of other sonic practices produced by humans and the body, constructed with soffit mounted speakers embedded in the design, the space is designed to amplify sound produced by and for the underground upwards into the existing environment. During the night the passerbys and people on the highway engage in the ritual practice as listeners as sound is amplified acoustically and directionally by design. The design of overground and underground interaction addresses the intersections of the sacred and profane through vibration and acoustics, and creates a sacred and preserved space for both parties. Over time as this space is used through the nature of natural materials and vibration the acoustic propertied of the space and the way the space sounds will begin to morph and change over time. Ideally the space will never sound the same, making every ritual interaction with the space unique and personal, until the space is in a state that makes the space more profane than sacred in that it is not in use and becomes a part of the existing environment, the space is not allowed to be repaired in any way.

Land Acknowledgement Journal and final Drawing

This course was mostly research based. In the course we were asked to choose a land that we wanted to acknowledge and research through the course of the semester. I chose Bushwick NY. I care about this land because of the music and culture located in that area today. During my research I found that the Lenape Indigenous tribe lived on that land first. Sound became a huge part of my research because it was an ally and familiar medium for me to research the Lenape people and the current day techno and music scene. I then began drawing connections in sound between the Lenape people and the current inhabitants of Bushwick. The rhythm and minimalism in sole heart beat rate drum and vocal use I the indigenous songs of the Lenape people directly related to techno. The ritual practice of performance and dance to simple repeating rhythmic beats and vocal drones directly relates to the ritual practices of attending raves and listening to techno. Both are celebrations, the Lenape people are celebrating the land and the environment, and I am celebrating music, meditation and ritual practice in itself in parallel to the Lenape people. My research on various forms of sonic practice to present my research brought me to granular synthesis because of its relation to nature, generation and generativeness, an initial state of being, and evolution over time.

Granular synthesis reminds me of grains of sand. The wind blows grains of sand in the wind to create a new portrait in the ground. recorded audio is a trim and cut/sample of that moment in time
* representing sound visually, sand and dust
    * in relation to minimalism and minimalistic moves within composition
Granular synthesis reminds me of evolution. You start with a set of genes, that is your audio, your initial state, first generation, and as you stretch that state, that initial audio over time, the longer the audio is stretched, the audio adapts to itself and has to inevitably evolve into a new form of being.
Granular synthesis reminds me of raindrops in a storm

presented my work as an installation and sonic performance where I placed real grass in between all electronic musical instruments (my modular synthesizer and speakers) and the ground, creating a filter between the electronic and the organic, a filter between the new, grass as regrowth and generativeness, and the land itself. I processed and manipulated existing authentic Lenape music using Teletype (a live coding eurorack with its own syntax, voltage followed from the amplitude of the incoming Lenape songs informed and was translated into binary, whose values were converted to digital pulses and slewed voltages to trigger and manipulate the granular algorithms controls). This performance was not only a presentation of my land acknowledgment and research but a ritual practice in itself and a representation of the history of music culture through creative computation.


Architectural Projection


Case Delle Armi, Luigi Moretti

Tectonic Assembly

Curved flat planes extend from vertical colomns to cre- ate a sort of truss to hold up the curved roof structure. These are mirrored on both sides and meet art a center point where a window seperates the edges of the curved structures, creating an apeture for light. a flat roof is placed over the structures, the colomns on the side of the shorter curved roofing enxent vertically to the hight of the higher roof, to create the illusion of a single recta- nular cube shape on the exterior of the building.

Circulation and Sequence

A fencing student walks into Case Delle Armi, makes a slight right turn, and continues to the stairs. The student passes through a doorway to the staircase and walks up one flight of stairs to the second level, making two left turns on the way up. They then walk through a doorway onto the balcony. They make a right turn and walk to- wards the end of the balcony, and make a left turn at the end of the balcony towards the doorway onto the outside (but roofed) passageway into the next building. They make a right turn and walk through the passageway and into an entrance into the next building. They then make

a left turn towards the locker / storage area. they walk to their locker, grab gear and what not, and walk towards the spiral staircase at the end of the space. They then walk down the spiral staircase and into the half-hight lower level space. They take a right and walk down the space and into to the meeting room at the end of the space.

Lightweight “Open Air” Pavillion Art Academy

An exploration of the idea of open-air schoolhouses and temporary architecture from a structural standpoint.