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This thesis, Luminous Land of Phon, explores how architectural spaces, even interior spaces, interact with nature along different dimensions. Light and sound are the two very powerful elements of nature and are the focus of this study. Louis Kahn once said: "The sun does not realize how wonderful it is until after a room is made." (Source: https://www.quotetab.com/quotes/by-louis-kahn#GdaYdAIrZ8tmvcyh.97) The question of nature is explored in an urban environment to challenge the tired dualistic division between the human and the natural world. This project transforms the way we think about the urban so that architecture and nature can have great harmony and elevate each other instead of canceling each other. The project is a school of architecture and landscape architecture that promotes fine spaces with desirable qualities of light and sound for the design professionals of the future. The project is sited in the University of the District of Columbia as an expansion of their existing campus and programs. / Master of Architecture / The architecture is a school of Architecture and Landscape architecture consisting of a full scale natural water pool underneath the building, Gallery and shop space under the pool, studio spaces, class rooms, faculty offices, cafeteria, and ceremony halls for the University of the District of Columbia at its Van Ness Campus sited at the Connecticut Ave, NW Washington D.C. The thesis is an exploration of the concept of bringing nature into architecture and a formal study of their harmony with each other, Architecture, structure and construction of the building.

Time, by definition, is an intangible phenomenon. Everyone knows it exists and can tell the passage of time based on the track of the sun and the hands on a clock, but time itself is an invisible entity. This architectural thesis maintains that time can be made tangible through the relationships formed between people and their personal histories and memories. The predominant way the present knows anything about its past is through someone's telling of it. A person who experienced the past shares with the present and in doing so, gives the past and time itself presence. This Memory Center, located in Dupont Circle, Washington, D.C., gives the opportunity for people to share their memories and experiences in order to give time physical presence. Like an interactive science museum, the Memory Center opens itself to the people who visit it and allows for interactions that create lasting memories. Although one cannot consciously control most of what becomes memory, events that are new or unusual or involve interacting with new people usually form stronger and more lasting memories. / Master of Architecture

Dans cette thèse, nous souhaitons explorer la valeur heuristique des sons de pas de l'usager dans l'espace collectif urbain. Cette intention est à l'origine, celle d'un intérêt concernant les productions sonores ordinaires de l'usager, de leurs aspects productifs et actifs à l'intérieur de son expérience quotidienne de la ville. Suite à ce dessein, la notion de trace sonore a été développée afin de mieux saisir, catégoriser et caractériser ces sonorités particulières et ordinaires engendrées par l'usager via ses actions. Souvent ignorées, restant au niveau de l'inconscient de l'usager, les traces sonores de pas font partie de ces sons produits par l'usager, mais qui ne sont pas étudiés dans les domaines liés à l'aménagement. Nous souhaitons alors en connaître davantage sur la teneur des informations que peuvent contenir ces traces sonores de pas et surtout sur les potentiels d'action qui, selon nous, y sont attachés. En résumé, nous cherchons à savoir ce qu'un pas peut nous dire au travers des traces sonores qu'il laisse suite à sa production. C'est ainsi que nous énonçons l'hypothèse que les traces sonores de pas sont porteuses d'informations clés sur l'usager producteur et acteur, sur les autres usagers ainsi que sur l'espace et ce, à même l'expérience sonore en « train de se faire ». Afin de saisir et questionner spécifiquement cette dimension de la trace sonore de pas, une méthodologie singulière a été construite venant interroger l'usager directement sur son vécu sonore, au moment de sa construction. La recherche création et la recherche projet nous ont donné le cadre, mais aussi la latitude nécessaire au développement d'un outil novateur propre à notre problématique : le dispositif sonore. Le dispositif a donc été installé sur quatre sites d'intervention : une terrasse et le parvis de l'ENSAG, une passerelle à proximité des locaux d'un collectif d'artistes et une passerelle située dans un parc urbain à Nantes. Entre immersion et observation, entretien et travail vidéographique, en lien avec le domaine de l'art sonore, notre recherche croise les dimensions sonores, spatiales et usagères. Les analyses conduites s'attardent à révéler et restituer les comportements, conduites, micro-mouvements, gestes et attitudes effectués par les usagers. Les résultats intéresseront le domaine de l'environnement sonore ainsi que le milieu de la conception architecturale et urbaine. En effet, cette recherche propose une meilleure compréhension du rôle des traces sonores de pas dans la composition des espaces collectifs urbains. / In this thesis, we explore the heuristic value of a user's footstep sounds in the urban public space. This intention is originally one of a common interest in user sound productions, their productive and active aspects within the daily experience of the city. To achieve this, the concept of sound trace has been developed in order to better understand, categorize and characterize these special and ordinary sounds produced by the user. Often ignored, remaining unconscious to the user, footstep sound traces are part of the sounds he produces, but are not studied in the fields related to urban design. We thus want to learn more about the information content of footstep sound traces, and especially about the potential of action that we believe are related to them. In summary, we want to know what a footstep tells us through the sound traces it makes. We thus state the hypothesis that footstep sound traces carries key informations on its producer, the other users as well as the space, all this throughout the sound experience “in process”. To capture and question this specific aspect of the footstep sound traces, we built a unique methodology that questions the user in real-time on his sound experience. Research design and research project gave us the framework, and the flexibility to develop an innovative tool specifically designed for our problematic : the sound device. The device has been installed on three sites : a terrace and the front of the ENSAG, a footbridge near the studio of a collective of artists and a footbridge located in a city park of Nantes. Between immersion and observations, interviews and video work, in connection with the field of sound art, our research crosses sound, space, and practice dimensions. The analyses reveal the behavior, conduct, micro-movements, gestures, and attitudes made ​​by the users. The results will be of interest in the fields of sound environment as well as architectural and urban design. Indeed, this research offers a better understanding of footstep sound traces roles in the composition of urban public spaces.

Mit dem Schallstrahlenmodell SMART (Sound propagation model of the atmosphere using ray-tracing) werden die Auswirkungen der Schallstrahlenrefraktion in der Atmosphäre und der Schallstrahlenreflexion am schallharten Boden auf die Schallimmission untersucht. Die gekoppelte Wirkung von Temperatur-, Windgeschwindigkeits- und Windrichtungsprofilen auf die Lärmbelastung an einem Ort über einer schallharten Oberfläche wird für eine große Anzahl möglicher Atmosphärenzustände simuliert und mit Schallausbreitungsrechnungen für eine absorbierende Bodenschicht verglichen. Ein Drittel der Bildpunkte der resultierenden Schalldämpfungskarten unterscheiden sich im Mittel signifikant voneinander. Die größten Unterschiede ergeben sich bei Temperaturinversionen. Hier treten für die Simulationen mit Bodenreflexionen geringere Schalldämpfungen gegenüber dem Fall ohne Bodenreflexionen auf. Diese kritischen Situationen mit einer verstärkten Lärmbelastung sind bei einer Überarbeitung von Lärmschutzrichtlinien besonders zu beachten. / Effects of sound-ray refraction in the atmosphere and sound-ray reflection at the sound-hard surface on the sound immission are investigated using the sound-ray model SMART (Sound propagation model of the atmosphere using ray-tracing). The coupled effect of temperature, wind velocity and wind direction profiles on the noise immission at one location over a sound-hard surface is simulated for a great number of possible states of the atmosphere. The results are compared with sound propagation simulations over a sound-absorbing soil layer. One third of the pixels of the resulting sound attenuation maps are significantly different from each other on the average. The greatest differences appear in cases of temperature inversion. Thereby, the simulations with reflections at the surface lead to smaller sound attenuation in comparison to the case without reflections at the surface. Such critical situations with an amplified noise immission have to be especially considered during the improvement process of noise immission control.

Das Schallstrahlenmodell SMART (Sound Propagation Model for the Atmosphere using Ray Tracing) simuliert die Schallausbreitung in der Atmosphäre unter der Berücksichtigung der Einflüsse der frequenzabhängigen Schallabsorption in der Luft, des frequenzabhängigen Bodeneinflusses und der Refraktion durch vertikale Gradienten im Wind- und Temperaturfeld. Die Ergebnisse des Modells werden zum Beispiel auf Truppenübungsplätzen zur Schallortung und zur Einschätzung der allgemeinen Schallausbreitungssituation verwendet. Des Weiteren wurde eine Untersuchung einer Regionalisierung von Schallausbreitungsverhältnissen durchgeführt. Daraus ergab sich eine Einteilung Deutschlands in verschiedene Gebiete mit unterschiedlichen mittleren Schallausbreitungsbedingungen. Die Schallquellenhöhe befand sich für diese Untersuchungen am Boden. SMART ist aber auch in der Lage die Schallausbreitung für weitaus höherliegende Schallquellen zu simulieren. So wurden Simulationen für die Emissionshöhe von 140 m durchgeführt. Es zeigten sich große Unterschiede zu einer bodennahen Schallausbreitung. / The sound propagation model SMART (Sound Propagation Model for the Atmosphere using Ray Tracing) simulates the sound propagation in a stratified atmosphere. In addition to the geometrical spreading and the stratification of the atmosphere, the properties of the ground also strongly affect the sound propagation. Further the absorption in the air is dependent for the frequency of the sound signal. The results of the model are used on drill grounds of the German Federal Armed Forces, on the one side for a locating of sound sources and on the other side for an estimation of the conditions of the sound propagation. Furthermore, there was a study to find regional differences in the model results. This leads to a classification of Germany in different areas with the same mean conditions for sound propagation. The sound source for this study was positioned at the ground surface. SMART also can be used for the simulation of a sound propagation with a high-placed sound source. So there was a study for an emission height of 140 meter. There were shown great differences to a sound propagation near the ground.

Twentieth-century popular music is fundamentally associated with electronics in its creation and recording, consumption, modes of dissemination, and playback. Traditional musical analysis, placing primacy on notated music, generally focuses on harmony, melody, and form, with issues of timbre and postproduction effects remaining largely unstudied. Interdisciplinary methodological practices address these limitations and can help broaden the analytical scope of popular idioms. Grounded in Jacques Attali's critical theories about the political economy of music, this dissertation investigates how the subversive noise of electronic sound challenges a controlling order and predicts broad cultural realignment. This study demonstrates how electronic noise, as an extra-musical element, creates modern soundscapes that require a new mapping of musical form and social intent. I further argue that the use of electronics in popular music signifies a technologically-obsessed postwar American culture moving rapidly towards an online digital revolution. I examine how electronic music technology introduces new sounds concurrent with generational shifts, projects imagined utopian and dystopian futures, and engages the tension between automated modern life and emotionally validating musical communities in real and virtual spaces. Chapter One synthesizes this interdisciplinary American studies project with the growing scholarship of sound studies in order to construct theoretical models for popular music analysis drawn from the fields of musicology, history, and science and technology studies. Chapter Two traces the emergence of the electronic synthesizer as a new sound that facilitated the transition of a technological postwar American culture into the politicized counterculture of the 1960s. The following three chapters provide case studies of individual popular artists' use of electronic music technology to express societal and political discontent: 1) Jimi Hendrix's application of distortion and stereo effects to narrate an Afrofuturist consciousness in the 1960s; 2) Trent Reznor's aggressive industrial rejection of Conservatism in the 1980s; and 3) Deadmau5's mediation of online life through computer-based production and performance in the 2000s. Lastly, this study extends existing discussions within sound studies to consider the cultural implications of music technology, noise politics, electronic timbre, multitrack audio, digital analytical techniques and online communities built through social media.