Conceived as a method for narrowing the gap of the San Francisco bay, this project begins to investigate underwater sound through an architectural solution. The rudimentary formula for sound consists of a source, a transmitter, and a receiver.

In the rationale of this design, the terminal is resolved as a source. Its initially linear arrangement of the program is manipulated horizontally and vertically according to perceived hierarchies of relationships with the volume of sound on the original pier plus land and water. The individual programs are further apportioned, collected, and/or individualized to become an order of high and low notes. All parts are amalgamated by the circulation passage layered as sporadic stairs. The hollow tube running beneath the passageway acts as a structural spine and a collector of sound vibrations generated by the users. The spine terminates at the water surface releasing all sounds of the terminal underwater. This release occurs at the threshold of a floating space which doubles as passenger waiting and concert stage. The finishing objective is to sanction the terminal as entertainer during non-concert periods. The composition is finally cocooned with lightweight fabric which forms a hovering structure sustained by internal air pressure.

The sound deposited by the terminal is transmitted throughout the site and bay area by means of water. The pier surface is composed from editing several iterations of surfaces generated by trilateration from a sound diagram. The surface allows for controlled water penetration of the pier depending on tide levels.
Finally, the receiver is obviously people stimulated by such an experience. Their attraction and participation in such a unique activity will ultimately narrow the gap