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Martin, W. Mike
February 22nd, 2007 under Faculty

Professor-in-Residence of Architecture, UC-Berkeley; Director, Education Abroad Program, Sweden

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W. Mike Martin

Professor Mike Martin’s teaching and research focuses on the study of practice, collaborative design, work-studies of practice, and storytelling as a means of knowledge transfer. He is a Fellow of the American Institute of Architects. He has served as President Elect of the San Francisco Chapter of the AIA, as editor of Architecture California (AIACC), and has received an Honorable Mention in the 2002 NCARB Prize for his Building Stories: A Case Study Analysis of Practice project. Current writings include Fundamental Processes in Concurrent Design and Construction, Progress Through Partnerships: The Changing Profession/Changing the Profession, and a book on Building Stories: A Case Study Approach to Practice.

Professor Martin completed his term as Chair of the Architecture Department in June 2006. He is on leave for the 2006-07 and 2007-08 academic years, serving as the Education Abroad Study Center Director for the University of California system in Lund, Sweden, and Copenhagen, Denmark.

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Traditional prosody, with its focus on more or less metrical rhythm, in short, describes an abstraction of sound. In search of regular rhythm, prosody tends unavoidably to eliminate the other acoustic phenomena, the noisy din of phonology and morphology, multi-accentuality and of course silences. The noise of poetry is either ignored or partially recuperated as a relational component of the discursive, semantic content; this process of elimination and abstraction can be seen as suppression and / or normalization, in other words noise abatement.

As a noise abatement project, traditional or normative prosody emboldened a resistance. Strange bedfellows from Mallarme to Whitman to Pound, Gertrude Stein, Henri Chopin, Ginsberg, Charles Olson, Robert Grenier, bp Nichol, etc., etc., are linked by their exploration of the noise of language in the face of normalized rules set primarily to find and disseminate abstract and pre-approved rhythmic patterns.
Seth Forrest
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