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In a time so distracted and involved with the latest computing technologies, the relevance of designed space as having a significant role in the ways in which we conduct our day to day lives is diminishing. Architecture is losing its power to ground us in a particular place, at a particular time, surrounded by specific materials. Rhythmsynthesis attempts to engage the body, stimulate interaction, and encourage new ways of touching, listening to, and looking at space. Rhythmsynthesis responds to Henri Lefebvre's Rhythmanalysis . Where Lefebvre coined his term for an act, a means for learning and discovering spatial, social, and political rhythms through analysis and writing, Rhythmsynthesis has an approach of exposing, synthesizing, and playing with similar rhythms through an interactive intervention looking towards practices of the Situationists and sound artists such as Max Neuhaus and David Byrne. In earlier stages of the thesis, a question was often posed: "How do shared auditory and tactile experiences affect new forms of participation and embodied interaction?" Throughout research, auditory and tactile experiences were defined by sounds, materials, and types of spaces which we encounter in our daily lives and the ways in which these two sensory systems can be fused.