WAVE explores the translation of sound into physical and spatial forms. In daily life, music surrounds us yet remains intangible—something we hear but cannot touch. This installation investigates how sound can be re-materialized into rhythms of motion and light, transforming auditory experience into a multisensory encounter. By visualizing sound as waves that rise, fall, and flow, WAVE invites reflection on how technology can bridge the gap between perception and materiality, making the invisible presence of sound visible and tangible.

At a technical level, WAVE is an Arduino-programmed installation that synchronizes wave-like rhythms and shifting light patterns with music. Utilizing wooden sticks and servo motors, a distinctive deformable-parallelogram mechanism was engineered to simulate vertical motion, resulting in the formation of dynamic waves that pulse and shift in response to sound.

The concept of WAVE was shaped by the search for a form that could embody the dynamics of music. Sound itself is already a wave—an oscillation in air pressure—yet in everyday life it remains invisible. I wanted to externalize this phenomenon by translating music into a visual and spatial metaphor that could be seen and felt.

Inspiration

The ocean provided the key metaphor. Waves rise, fall, and flow endlessly, much like the rhythms of music. Both carry energy across space, and both have the power to shape human emotions. By drawing from the language of water, I aimed to give sound a body: something rhythmic, fluid, and alive. This metaphor also guided the choice of light as a complementary element—waves of brightness mirroring the pulse of sound.

Form Exploration

Early explorations focused on imagining how these wave-like motions could be recreated mechanically. Instead of directly reproducing water, the goal was to build a simplified, abstract motion that still carried the essence of rise and fall. This thinking process set the foundation for the later physical construction, where sound would drive the wave rhythm in real time.

The physical process of WAVE focused on translating an abstract metaphor into a working installation. Beginning with simple materials and modular mechanisms, the goal was to build a lightweight yet responsive structure that could embody the rhythm of sound through visible motion and light.

1 / Materials

The structure combined everyday and digital components. Wooden sticks and a paper box provided a lightweight frame, while silk was chosen for its translucency and ability to diffuse light into smooth gradients. Servo motors, controlled by an Arduino UNO and a sound sensor, translated audio signals into motion. Together, these materials balanced accessibility with functionality, allowing simple elements to create complex effects.

2 / Operating System

At the system level, sound signals were captured by a detection sensor and processed by the Arduino, which controlled multiple servo motors. A deformable parallelogram mechanism converted the rotary motion of the motors into vertical oscillations, producing a rhythmic surface that echoed the flow of music. This setup allowed the installation to operate in real time, making the wave-like form directly responsive to sound.

3 / Prototyping

The prototyping phase involved assembling the structural frame, attaching the fabric surface, and integrating the servo system. Early tests revealed challenges with synchronization and stability: the motors sometimes moved out of phase, and the fabric required careful tensioning to maintain smooth motion. Through iterative adjustments, the prototype achieved a stable rhythm, successfully embodying the intended metaphor of sound as waves.

The digital layer of WAVE was realized through Arduino programming, which enabled the installation to respond to sound in real time. Signals from the sound detection sensor were processed and mapped to control the motion of servo motors and the brightness of LEDs. Louder sounds produced larger wave displacements and brighter light, while softer sounds created subtler ripples and dimmer illumination. This mapping allowed the invisible qualities of music to be externalized, transforming auditory input into synchronized waves of motion and light that could be seen and felt.

The final installation brought the concept of WAVE to life, transforming music into a dynamic landscape of waves and light. Photographs capture the shifting forms of the fabric surface as it rises and falls, illuminated by subtle gradients of brightness. These still images highlight the material qualities of silk and the rhythm embedded in the structure.

A short video documents the installation in motion, revealing how sound inputs drive the synchronized wave movement and light pulsation in real time. Through this audiovisual performance, the intangible presence of sound becomes tangible—something visible, spatial, and embodied. The outcome invites viewers to experience music not only as something to be heard, but as a multisensory phenomenon that flows through space.

Building WAVE revealed both the possibilities and challenges of translating an abstract metaphor into a working installation. On the technical side, issues such as motor synchronization, fabric tension, and stable sound detection required repeated testing and adjustment. These challenges highlighted the importance of iteration—each prototype refined the balance between structure, motion, and light.

At a conceptual level, the project deepened my understanding of how intangible phenomena like sound can be materialized through design. By combining simple materials with digital control, WAVE became more than a kinetic object: it was an exploration of perception, demonstrating how technology can transform the invisible into a shared, multisensory experience.