After fully absorbing the literature and artistic references, I began translating the conceptual framework into an executable implementation plan. The challenge lay not only in designing four distinct emotional climates but also in constructing the transitions between them—allowing emotions to flow like weather systems rather than exist as isolated zones. The installation consists of four emotional areas—Anger, Confusion, Sadness, and Calm—each formed through its own combination of sound, airflow, light, and temperature.
Anger
The Anger zone is built around a “noise storm.” Drawing on Chris Watson’s storm recordings and Ikeda’s high-intensity frequency aesthetics, I designed a sonic palette consisting of 3–8 kHz high-frequency noise, metallic transients, low-frequency impacts, and rapidly modulated sound-pressure fluctuations. Directional fans are installed to send gusts of air toward the visitor, mimicking meteorological turbulence. Pulsing red light synchronised with the sound intensifies the sense of pressure and agitation.
Confusion
Inspired by Christina Kubisch’s electromagnetic sound works and Olafur Eliasson’s fog environments, the Confusion zone uses drifting sine tones, low-density white noise, and unlocalisable sound sources. Dense fog dissolves the visual space, while the lack of directional cues creates perceptual disorientation. The emotion aimed for here is not fear but a gentle, continuous sense of dislocation.
Sadness
Informed by Annea Lockwood’s environmental subtlety and James Turrell’s light-field structures, the Sadness zone incorporates descending glissandi, soft noise textures, deep sustained tones, and reverberation with a sense of humidity. Cool blue overhead lighting establishes a downward emotional orientation, while a slight downward airflow creates a subtle bodily inclination toward inner stillness and introspection.
Calm
As the emotional resolution of the installation, the Calm zone employs low-frequency, slow, tidal-like sonic movement, soft airflow, and blue-green breathing light. The sound design emphasises rhythmic bodily regulation rather than melody, enabling visitors to relax physiologically after experiencing the more intense emotional climates.
The installation avoids “room-like separation” and instead adopts a continuous spatial layout—allowing the emotional climates to merge and permeate one another like shifting weather conditions. This design is grounded in LaBelle’s theory of sound’s permeability and Ahmed’s concept of the fluid circulation of emotion.
The installation operates through the integration of multichannel sound diffusion, environmental control systems, and lighting design. Its technical logic is built around three core variables: sound density, spectral contour, and airflow rhythm.