Designer Jonathan C. Nelson
How do you spatialize sound? How can sound participate in the experience of Architecture? How can the authorship of new instruments change the way we understand sound? 

These three questions began an interrogation of the tools, instruments, and techniques related to understanding sound and music in Architecture. The series of drawings and models that follow unveil a working process and ongoing theoretical investigation.
Index Mapping. As a first step, I played The Pines of Rome, a symphonic work, through speakers directed towards a drawing surface. Pens balanced in the shape of a tripod thereby drew the resulting vibrations and standing waves.
Digital Signature. A computer program developed in Grasshopper interprets the 2-dimensional dot drawings into a 3-dimensional topography. The surfaces are converted by software into tooling paths that carve the surface into extruded polystyrene insulation.
Casting. Wet plaster is poured directly into the plastic form, then set to dry. This final step produces the inverse form and reveals the tooling marks left behind by the CNC routing machine.
Work About Contact
How do you spatialize sound? How can sound participate in the experience of Architecture? How can the authorship of new instruments change the way we understand sound? 

These three questions began an interrogation of the tools, instruments, and techniques related to understanding sound and music in Architecture. The series of drawings and models that follow unveil a working process and ongoing theoretical investigation.
Index Mapping. As a first step, I played The Pines of Rome, a symphonic work, through speakers directed towards a drawing surface. Pens balanced in the shape of a tripod thereby drew the resulting vibrations and standing waves.
Digital Signature. A computer program developed in Grasshopper interprets the 2-dimensional dot drawings into a 3-dimensional topography. The surfaces are converted by software into tooling paths that carve the surface into extruded polystyrene insulation.
Casting. Wet plaster is poured directly into the plastic form, then set to dry. This final step produces the inverse form and reveals the tooling marks left behind by the CNC routing machine.
How do you spatialize sound? How can sound participate in the experience of Architecture? How can the authorship of new instruments change the way we understand sound? 

These three questions began an interrogation of the tools, instruments, and techniques related to understanding sound and music in Architecture. The series of drawings and models that follow unveil a working process and ongoing theoretical investigation.
Index Mapping. As a first step, I played The Pines of Rome, a symphonic work, through speakers directed towards a drawing surface. Pens balanced in the shape of a tripod thereby drew the resulting vibrations and standing waves.
Digital Signature. A computer program developed in Grasshopper interprets the 2-dimensional dot drawings into a 3-dimensional topography. The surfaces are converted by software into tooling paths that carve the surface into extruded polystyrene insulation.
Casting. Wet plaster is poured directly into the plastic form, then set to dry. This final step produces the inverse form and reveals the tooling marks left behind by the CNC routing machine.
How do you spatialize sound? How can sound participate in the experience of Architecture? How can the authorship of new instruments change the way we understand sound? 

These three questions began an interrogation of the tools, instruments, and techniques related to understanding sound and music in Architecture. The series of drawings and models that follow unveil a working process and ongoing theoretical investigation.
Index Mapping. As a first step, I played The Pines of Rome, a symphonic work, through speakers directed towards a drawing surface. Pens balanced in the shape of a tripod thereby drew the resulting vibrations and standing waves.
Digital Signature. A computer program developed in Grasshopper interprets the 2-dimensional dot drawings into a 3-dimensional topography. The surfaces are converted by software into tooling paths that carve the surface into extruded polystyrene insulation.
Casting. Wet plaster is poured directly into the plastic form, then set to dry. This final step produces the inverse form and reveals the tooling marks left behind by the CNC routing machine.