The music in my profession is an example of clearest metaphore to the perceptible form.Without such qualities as harmony, composition wholeness, confidence of performance - neither music, nor architecture are impossible.

Proceeding of the international scientifically-practical conference ACTUAL PROBLEMS OF GEOMETRIC MODELING. Donbass State Academy of Civil Engineering and Architecture Donetsk 2000

UDC 515.2 + 563.3 Y. A. Kravchenko, student

STRING VIBRATIONS AND CENTRAL PROJECTION

Pridneprovskaya State Academy of Civil Engineering and Architecture

Work is devoted to one-to-one mapping between the results of aural perceptions of sound vibrations and ocular perceptions of space objects.

Formulation of a problem: on the basis of system understanding of character of objects phenomena and principle of their general interrelation to find conditions of creating space objects image similarly to consonant sonorities.

Sounding as a vibration process has two characteristics: frequency and amplitude. The timbre occurs as result of overlap of vibrations differing in frequency and amplitude. Combination of multiply interrelated frequencies forms consonant sonority, combination of non-multiply interrelated ones creates a dissonance. The string simultaneously vibrates at full length emitting a fundamental tone and by to-length multiple portions emitting overtones. Each of these string portions has a fundamental tone, a frequency, which is inversely related to its length. The shorter the portion of the string, the higher its frequency is. It takes also a place in the central projection, where a smaller object’s projection is formed by a bigger distance from it to the projection center, i.e. the object’s projection value is inversely related to its distance from a view point.

The string here is like an object holding at the picture plane where it is a projection of itself. Hence, the object moves from the center of projection to its value that defines the distance to the picture. A two times smaller projection is correspondently remote at a two times larger distance. A three times smaller projection is three times further remote etc.

This means the formation of the metric row of objects with each of them creating projections in the picture being multiple to each other and having a “consonant” view. The modular grid, “a working abstraction”, existing in practice of shaping – performs this function. In sound analogy it looks like a chromatic scale where the lengths of strings corresponding to sounds form the harmonic sequence known as positioning scales on the guitar fingerboard.

Thus, the conclusion can be made on correlation between the conditions of creation and perception of harmonic sound combinations and space objects.