Author: Declan Roberts

Overview:

• Digital art installation featuring thousands of field recordings from around the world.
• Setup resembles a giant map on the gallery floor, consisting of wires, cables, up to 300 speakers, and two custom-made amplifiers.
• Configurable to focus on specific cities (e.g., London, Paris, Rome) or the entire world.
• Interactive and generative sound art system allowing audience control and manipulation of sounds and maps.

Components:

• Grid layout on the gallery floor includes wires, cables, up to 300 speakers, and two custom amplifiers.
• Custom software enables the projection of maps onto the wall corresponding to the selected city.
• Audience interaction facilitated through two computers connected to projectors, transforming them into performers.
• Computers display interactive sound maps, allowing the audience to choose and control the sounds played on the speakers.

Functionality:

• Interactive and generative: Audience operates the system, becoming both performers and conductors.
• Operates autonomously when unattended, functioning as a generative system exploring global sounds.
• Utilizes soundcities.com database and live feeds with new software, incorporating real-time elements into the experience.

City Sounds and Identity:

• Exhibition explores city sounds as a poetic interpretation from a listening perspective.
• Soundscape reflects emotional and responsive interactions with cities, providing clues to city identities.
• Specific sounds evoke the character of places and stimulate senses in a musical manner.
• Emphasis on the online aural experience, transforming found sounds into both literal descriptions and developed musical compositions.

Philosophy:

• Conceptualizes the city as its own evolving music, composed of various sounds such as squeaks, clanks, and pulses.
• Challenges the impact of globalization on the identity of city experiences, highlighting the homogeneity found worldwide.
• Soundcities involves field recording as an appreciation of sound, considering it not just as noise or pollution but as an integral part of the space.

User Interaction:

• Users navigate the interactive interface of the city as they walk through streets.
• Responsive interactions shape the city space, turning the audience into conductors composing the city’s music through their movements.
• The city is presented as both noise and music, where the audience’s actions contribute to the evolving composition of the urban orchestra.

https://www.stanza.co.uk/soundcities_herd/index.html

Lappin, S., Ouzounian, G., & O’Grady, R. (2018)

Notes, Page 7
I. Introductory Issues

• Urban Sound Perception:
  • Urban environments traditionally view sound as noise, often considered a form of pollution.
  • No universal definition of noise exists; it varies from person to person.
  • Loud sounds are typically uncomfortable, but quiet sounds can also be irritating.
• Complexity of Noise:
  • Noise, in policy documents, is categorized into environmental, neighbourhood, and neighbour noise.
  • Environmental noise stems from consistently loud outdoor sources like transport and industry.
  • Neighbourhood noise results from human activities within the community, such as entertainment or construction.
  • Neighbour noise pertains to sounds within a person’s home or their neighbour’s home.
• Concept of Soundscape:
  • The term “soundscape” goes beyond noise, providing a holistic view of the acoustic environment.
  • Coined by R. Murray Schafer in “The Soundscape: Our Sonic Environment and The Tuning of the World” (1977).
  • Encompasses all audible elements in a specific place at a given moment.
  • Important to consider the urban soundscape alongside noise levels to appreciate both positive and negative aspects of sound in the environment.

II. Sound Beyond Noise

• Reinterpreting Urban Development:
  • The initiative “Recomposing the City” questions how a focus on sound, rather than just noise, can contribute to enhancing urban areas.
  • Views sound as vital to a city’s vitality, challenging the conventional perception of sound as a mere nuisance.
• Community and Safety:
  • Jacqueline Waldock, a soundscape artist and researcher, argues that hearing one’s neighbor is not necessarily unpleasant.
  • Suggests that being able to hear neighbors fosters a sense of safety and community.
• Holistic Approach to Urban Development:
  • Proposes that urban development plans should not only aim to eliminate or block unwanted noise but also prioritize the promotion and enhancement of positive and distinctive aspects of the local soundscape.
  • Implies that understanding and embracing the auditory character of an urban area can lead to more comprehensive and community-oriented development.

Lappin, S., Ouzounian, G., & O’Grady, R. (2018). The Sound-Considered City: A Guide for Decision-Makers.
https://static1.squarespace.com/static/520167f1e4b0b5e68d9b07cd/t/5a8be8699140b7effc636c3e/1519118498
252/The+Sound-Considered+City+Low+Resolution+Web+Copy.pdf

Notes:
Introduction:

• The Lonely City by Olivia Laing explores the interplay between isolation and creativity.
• Laing focuses on artists like Edward Hopper and Andy Warhol to illustrate the connection between loneliness and artistic expression.
• The argument is made for a positive embrace of solitude rather than fearing it.

Loneliness in the Urban Landscape:

• Laing vividly describes the urban experience, standing alone by a window, portraying the city as a grid of isolated cells.
• The city is characterized as a place where loneliness isn’t solely derived from physical solitude but from a lack of connection and intimacy within the bustling city life.

Personal Encounter with Loneliness:

• Laing shares her personal experience of loneliness following a failed relationship and her move to New York.
• Emphasis on the raw and overwhelming emotions, compounded by societal expectations around female aloneness.

Exploration Through Art:

• Laing’s fascination with loneliness leads her to explore its portrayal in art, particularly within the visual realm.
• Initial focus on Edward Hopper, highlighting his resistance to the label of loneliness and the emotional impact of his city scenes, notably in “Nighthawks.”

Edward Hopper’s Loneliness:

• Detailed analysis of Hopper’s portrayal of urban isolation, emphasizing deserted cafes, offices, and lobbies.
• Examination of emotional resonance in Hopper’s paintings, with special attention to the iconic “Nighthawks.”
• Significance of architectural elements, such as glass, in conveying feelings of separation and exposure.

Andy Warhol: A Hoarder of Distance:

• Exploration of Warhol’s life and art as a reflection of his struggles with intimacy and attachment.
• Warhol’s use of technology as a buffer against physical contact and his tendencies as a hoarder.
• Discussion of the impact of his childhood experiences on his perception of physical appearance and desire for acceptance.

Loneliness and Machines:

• Delving into the connection between loneliness and technology, exemplified by Warhol’s reliance on machines.
• Discussion of the role of machines in buffering interactions, providing a sense of control and possession without the risk of rejection.

Outsider Artists: Henry Darger:

• Exploration of the life of outsider artist Henry Darger as an illustration of societal forces contributing to isolation.
• Darger’s creation of an intricate otherworldly realm, the Realms of the Unreal, as a response to his lonely and traumatic childhood.
• Analysis of Darger’s art as a form of resistance and an attempt to make sense of suffering and disorder.

David Wojnarowicz: Art as Resistance:

• Discussion of the brutal childhood and homelessness of David Wojnarowicz and its impact on his art.
• Wojnarowicz’s response to the Aids crisis, his involvement with Act Up, and the fusion of art and resistance.
• Emphasis on the role of openness and honesty in Wojnarowicz’s work as a cure for loneliness and a means of connecting with others.

Conclusion:

• Loneliness explored as a multifaceted experience through various artists’ perspectives.
• Recognition of the potential beauty in loneliness and its connection to creativity.
• Emphasis on self-acceptance, understanding larger societal forces, and resisting the gentrification of emotions.

https://www.theguardian.com/books/2016/feb/28/the-lonely-city-olivia-laing-edward-hopper-andy-warhol

Notes:

Introduction:

• Edward Hopper’s 2004 retrospective at Tate Modern in London set a record with over 420,000 tickets sold, only surpassed by Matisse and Picasso.
• Even 50 years after Hopper’s death, his popularity remains undiminished, prompting the question: What is it about Hopper’s melancholic art that resonates with so many?

Themes in Hopper’s Work:

• Born in 1882, Hopper depicted urban loneliness, disappointment, and despair in his prolific career.
• His paintings, such as Automat (1927) and Nighthawks (1942), feature vivid colors set against contrasts of light and shade, portraying lone individuals in impersonal spaces.
• Hopper’s works suggest that even in a bustling city, isolation persists and is, in fact, heightened.

Hopper’s Contribution to American Art:

• In the transforming America of the 20th century, Hopper’s brand of Americanism offered a counterpoint to prevailing optimism.
• Similar to film noir and the works of writers like Raymond Chandler, Hopper’s art addresses the negative effects of urbanization and economic disparities.
• At the core of Hopper’s vision are the paradoxes of the foundational democratic myth, exploring the tension between individual uniqueness and equality.

Influence in Pop Culture:

• Hopper influenced diverse artists, including Alfred Hitchcock, who drew inspiration for Bates Motel from Hopper’s House by the Railroad (1925) in “Psycho.”
• Hitchcock’s “Rear Window” (1954) reflects traces of Hopper’s Night Window (1928).
• Nighthawks continues to be referenced in popular culture, influencing Tom Waits’ album and appearing in “The Simpsons.”

Haunting Realism of Hopper’s Art:

• Hopper’s art is characterized by sparse realism, disinclined toward extraneous details, and marked by what it omits.
• Iconic American spaces become reflective of the artist’s interior realm, inviting contemplation of mood, feeling, and one’s position in the world.
• The simplicity of paintings hides great complexity, encouraging viewers to speculate on past and impending events and on the desires and anxieties triggered by examining characters’ lives.

Voyeurism and Inner Connection:

• Hopper’s art is often associated with voyeurism, as seen in Night Windows (1928), prompting a meditation on the need for connection and the difficulty of reaching out to others.
• The term “voyeurism” is better understood as a reflection on the viewer’s own sense of isolation.

Influences on Hopper:

• Influences include French Impressionists, especially Edgar Degas, for a fascination with light play.
• Robert Henri, part of the “Ashcan School,” influenced Hopper’s unsentimental depiction of diverse New York City.

Hopper’s Artistic Philosophy:

• Hopper’s famous declaration emphasises that great art is the outward expression of an inner life in the artist, resulting in a personal vision of the world.
• Hopper’s paintings create a space for viewers to reflect on their own inner lives, prompting questions about identity and personal relations.

Conclusion:

• While abstract expressionists and pop artists engaged with post-war America differently, Hopper’s work continues as it explores fundamental questions about identity and personal relations, inviting viewers to reflect on themselves and others.

https://theconversation.com/edward-hopper-the-artist-who-evoked-urban-loneliness-and-disappointment-with-beautiful-clarity-77636

1. Introduction to Brutalism

• Emerged in the 1950s as a post-war architectural movement.
• Coined by Reyner Banham as “The New Brutalism” to challenge soft modernism.
• Multiple origins of the term, including references to Le Corbusier’s béton brut and Peter Smithson’s nickname ‘Brutus.’

2. Principles of Brutalism According to Banham

• Defined by Banham in 1955 with chief principles:
  • Memorability as an image.
  • Clear exhibition of structure.
  • Valuation of materials “as found.”
• Seen as an amalgam of stylistic features (Cubism) and ideological principles (Futurism).

3. Early Brutalist Architects

• Alison and Peter Smithson among the first to associate with Brutalism.
• Described Brutalism as an ethical movement facing mass-production society, emphasizing rough poetry.
• Michael J. Lewis sees early Brutalism as a delayed appearance of modernism in British architecture.

4. Critiques and Public Reception

• Brutalism criticized for its stark, cold, and monolithic appearance.
• Rejected by the public for being insufficiently pleasing and too surly.
• Anti-beauty characteristic highlighted by Banham and misunderstood by the public.

5. Aesthetic Features of Brutalism

• Minimalistic aspect evident in the use of raw, unprocessed materials.
• Examples include Sigurd Lewerentz’s construction and Smithsons’ Hunstanton School.
• Extensive use of right angles, cubes, abstract geometric patterns, monochromatic or reduced color palette.

6. Personal Connection to Brutalism

• Author Mo H. Zareei’s upbringing in a Brutalist residential building complex in Tehran.
• Deep affinity for the ‘anti-beauty’ aesthetics of Brutalism.
• Connection between Brutalist architecture and Zareei’s sound-based artworks.

7. The Brutalist Noise Ensemble

• Zareei’s audiovisual project designed to take glitch music outside computers.
• Three instrument types: Mutor, Rippler, and Rasper.
• Aesthetic transformation of non-beautiful sonic aspects into artistic expression through sculpture forms.
• Transparent structures, homogeneity, and rhythmic patterns reminiscent of Brutalism.

8. Sound-Based Brutalism

• Expanding the concept of Brutalism to sound-based arts.
• Not a direct translation of architectural principles but a shared set of aesthetic features.
• Proposing ‘brutalism’ as a descriptor for shared aesthetic principles, decoupled from historical associations.

9. Materiality in Sound-Based Brutalism

• Focus on the materiality of ‘anti-beautiful’ sonic materials.
• Highly ordered, organized, and often quantized mode of expression.
• Embraces Pierre Schaeffer’s objet sonore but rejects reduced listening.

10. Contemporary Relevance and Neo-Brutalism

• Despite past criticism and demolitions, Brutalism is experiencing a revival.
• Contemporary interest in Brutalism in various artistic disciplines.
• The emergence of Neo-Brutalist architecture and inclusion of sound-based practices in this context.

11. Challenges to Direct Translation

• Acknowledges challenges in directly correlating contemporary sound-based aesthetics with a primarily architectural movement.
• Recognizes the historical failure and criticism of Brutalist architecture.

12. Establishing a Frame of Reference

• Intention is not to argue for the direct translation of architectural principles into sound-based artworks.
• Aims to establish a frame of reference based on shared aesthetic features.
• Suggests ‘brutalism’ as a term to describe this shared aesthetic without direct architectural connections.

13. Sound-Based Brutalism in Contemporary Art

• Extending the concept of Brutalism to the broader context of contemporary sound-based art.
• Argues for a shared aesthetic movement across genres and media.
• Highlights the need for further investigation, definition, and clarification of this aesthetic trend.

14. Sound-Based Brutalism Characteristics

• Focus on materiality, similar to microsound’s conception of sound as particles.
• Emphasis on the material over the musical, aligning with noise music’s goals.
• Sound-based brutalism encompasses works that concentrate on the materiality of ‘anti-beautiful’ materials in both sonic and visual forms.

15. Comparison with Futurism and Minimalism

• Suggests that sound-based brutalism draws from the noise of Futurism and the reductionist rigour of minimalism.
• Emphasizes a historical point of reference decoupled from the normative association of noise-based practices with Futurism.

16. The Revival of Brutalism

• Observes a growing interest and curiosity in Brutalism in recent years.
• Neo-Brutalist architecture emerging and being embraced by visual artists.
• The proposal to include sound-based practices in this neo-brutalism based on shared aesthetic features.

17. Conclusion

• Reiterates the argument for the use of ‘brutalism’ as a descriptor for shared aesthetic principles in sound-based artworks.
• Acknowledges the evolving nature of Brutalism’s reception and its impact on various artistic disciplines.
• Emphasizes the need for continued exploration and understanding of sound-based brutalism as a distinct aesthetic movement.

https://www.cambridge.org/core/journals/organised-sound/article/soundbased-brutalism-an-emergent-aesthetic/E1748F7E1B0B4A8254276A4549206ECE

1. Introduction
   • The Four Seasons restaurant in New York, designed by Philip Johnson and Mies van der Rohe, features a unique soundscape with a rectangular pool and strategically placed trees.
   • Emphasizes the often-overlooked significance of sound in architectural design.
2. The Significance of Sound in Architecture
   • Sound, like light and interior landscapes, is a crucial aspect of an environment.
   • 1952 composition “4’33″” by John Cage highlights the concept of soundscape in a concert hall.
   • Architectural spaces and cities have distinct sounds shaped by materials.
3. Origins and Definition of Soundscape
   • R. Murray Schafer led the development of the term soundscape, defining it as any audible human sound environment.
   • Soundscape is a matter of acoustic ecology or soundscape ecology.
   • The Wikipedia definition emphasizes the study of valuing and managing sounds in the transformation of acoustic environments.
4. Holistic Approach to Soundscape
   • Soundscape and environmental noise control are complementary approaches.
   • Paulo Chagas Rodrigues emphasizes the holistic assessment of the acoustic environment based on objective and subjective parameters.
5. Soundscape Architecture
   • Karen Van Lengen, in collaboration with others, developed Soundscape Architecture.
   • The approach involves recording sounds from iconic architectural spaces to create synesthetic animations and musical compositions.
   • Challenges the visual-centric approach to architecture and promotes thinking about the sounds of spaces.
6. Architectural Representation and Sound
   • Traditionally, architectural representation has favored vision over other senses.
   • Sound is an intersection between space and people, providing a unique and dynamic dimension to architectural experiences.
7. Examples of Sound in Architecture
   • David Libeskind highlights the essential role of sound in the Jewish Museum in Berlin.
   • Mandai Architects’ Soundscape installation uses sound-generating glass to create a multi-layered soundscape with nature-inspired sounds.
8. Challenges and Opportunities
   • Bringing sound to a project is challenging but can significantly influence the spatial experience.
   • Concentrating on the soundscape requires mindfulness, providing a supplementary resource for creating desired sensations in architectural design.
9. Conclusion
   • Awareness of how sound is understood in different spaces or materials is a crucial aspect of designing architectures that evoke specific user experiences.
   • Encourages architects to consider sound as a fundamental element in the overall design process.

https://www.archdaily.com/972913/what-is-soundscape-and-what-does-it-have-to-do-with-architecture

Title: Exploring Acoustic Spaces: Architectural Acoustics in Noteworthy Buildings

Summary: Architectural acoustics, the science and engineering of sound within buildings, has significantly advanced in recent decades due to technological innovations and a growing interest in creating optimal sonic environments. This progress is particularly crucial in urban areas where quietness is a sought-after luxury. The historical roots of modern scientific methods in architectural acoustics are traced back to the work of American physicist Wallace Sabine in Harvard’s Fogg Museum lecture room. The article examines five remarkable buildings designed for sound, with a focus on spaces intended for live music experiences.

Key Concepts:

• Chapel of Sound, Chengde, China:
  • Completed in 2021, this monolithic open-air concert hall by OPEN architects is situated near Beijing and offers a unique music experience in a scenic landscape.
  • Constructed from local mineral-rich rocks and concrete, the Chapel of Sound provides both a performance venue and a tranquil space for contemplation.

• The Music Hall at the Ālī Qāpū Palace, Isfahan, Iran:
  • Dating back to the early 17th century, the Ālī Qāpū Palace in Isfahan, Iran, features a renowned Music Hall with architectural features designed to enhance acoustics.
  • The Music Hall incorporates a double-walled design to absorb echoes, creating a low-tech quadrophonic sound system.

• Teatro Regio, Turin, Italy:
  • Turin’s Teatro Regio, initially planned in 1713, experienced multiple delays before being reconstructed in 1967 under architect Carlo Mollino after a fire in 1936.
  • The elliptical-shaped opera house with 1,750 seats includes an added acoustic shell to enhance sound quality, presenting a diverse range of operas.

• Elbphilharmonie Hamburg, Hamburg, Germany:
  • Designed by Herzog & de Meuron, the Elbphilharmonie in Hamburg is a radical construction sitting atop a former warehouse in HafenCity.
  • The philharmonic hall’s design prioritizes acoustics and visual perception, with tiers extending into the building’s structure, defining its unique silhouette.

• Fertörákos Cave Theatre, Fertörákos, Hungary:
  • Situated within the UNESCO World Heritage Site of Fertö-Lake Neusiedl, the Fertörákos Cave Theatre utilizes cavernous spaces with unique acoustic characteristics.
  • Renovations in 2011 modernized the theatre rooms, added state-of-the-art equipment, and preserved the quarry’s rugged appearance.

Authors/References Cited:

• OPEN architects
• Pinterest
• Deimel + Wittmar
• Pinterest
• Pinterest
• archi.doc

Acoustics In Architecture: 5 Extraordinary Buildings Designed For Sound

Kjetil Trædal Thorsen, a founding partner and architect at Snøhetta, discusses the intersection of sound and space, emphasizing the importance of sensory engagement. Thorsen highlights his collaborative approach, termed “transpositioning,” as a key method for fostering interdisciplinary connections and maintaining genuine collaboration in architecture. He underscores the transformative potential of collaboration, asserting that it provides an avenue for evolution. Moreover, Thorsen cautions against attempting to address challenges in isolation, asserting that everything is interconnected. He succinctly captures this sentiment, stating, “You cannot solve anything on your own.”

Bernhard Leitner, an architect and sound artist of Austrian origin, reflects on his groundbreaking endeavors in investigating acoustic spaces within the realm of artistry. Leitner’s focus lies in the conception of spaces through sound, treating sound as a foundational building material. Employing what he terms “the vocabulary of sound,” Leitner articulates how he harnesses sound to delineate spatial dimensions and craft entirely novel environments.

Summary: The text explores the intricate relationship between sound and space, viewing sound as a spatial event, material phenomenon, and auditive experience. It draws parallels between architecture and sound design, emphasizing their shared impact on spatial perception. Concepts such as the invisible architecture of sonically perceived spaces and the creative possibilities of altering narratives through sound are discussed.

Key Concepts:

1. Spatial Metaphor:
   • Sound is described as an integral part of architectural processes, modifying, positioning, reflecting, or reverberating within built spaces.
   • The analogy between music, sound art, sound design, and architecture is explored, emphasizing the significance of the sonic dimension in spatial evaluation.
2. Sound Design as Architectural Process:
   • Sound design is likened to an architectural process, influencing acoustics and delving into perceptual, intellectual, narrative, emotional, and aesthetic dimensions.
   • The sound designer is compared to an interior designer, shaping both the acoustic and narrative aspects of a space.
3. Invisible Structures and Sonic Architecture:
   • Sound design goes beyond replicating acoustic characteristics, creating an imaginative and virtual sonic architecture.
   • The text introduces the concept of a virtual acoustic space, allowing for creative possibilities and alterations in the perception of landscape.
4. Resonance and Emptiness:
   • Resonance is explored in relation to the sonic qualities of architecture, discussing how it affects sound reproduction and manipulation.
   • The creative use of sonic absence, analogous to the concept of empty space in architecture, is examined for its impact on emotional and narrative significance.
5. Spatial Openness in Sound Design:
   • Sound design is viewed as a form of aural design, expanding beyond mimetic acoustics to create inner spaces for the audience.
   • The text emphasizes the role of sound design in exploring aural architecture and suggests its connection to sound art.
6. Technological Element and Resonance:
   • Sound design incorporates technology not only for processing sounds but also for conceiving and visualizing them, aligning with scientific and mathematical perspectives.
   • The work of Iannis Xenakis is cited as an example of the intersection between mathematics, music, and architectural processes.
7. Spatial Possibilities and Sonic Phenomena:
   • Sound design offers creative possibilities for exploring spatial/physical structures, going beyond acoustical considerations to include emotional, perceptual, and subjective dimensions.
   • The text concludes by emphasizing sound as the vibratory principle of architecture, akin to Goethe’s description of architecture as “frozen music.”

Quotations:

• “Sound is a spatial event, a material phenomenon and an auditive experience rolled into one.” – OASE
• “Architecture is an exterior medium, film is an interior medium: an architecture for the interior of the mind.” – Walter Murch
• “The act of designing sound can be understood as an architectural process that works in the field of acoustics but also transcends it.”
• “There’s an invisible architecture, a sonically perceived space that is not necessarily dependent on the visual stimuli.”
• “Resonance has a strong connection with the notions of propagation and immersion, and the process of sound design takes a lot of both.”
• “Sound design is in much sense a way of the mentioned ‘aural design,’ in the way that the spaces built or proposed by the sound designer are often based on what is possible (or not) to be listened.”
• “Maybe it is possible to conceive that game of architecture in terms of the sonic phenomena.”

Authors/References Cited:

• OASE
• Walter Murch
• Trevor Wishart
• Alvin Lucier
• Douglas Kahn
• Iannis Xenakis
• David J. Lieberman
• Junichiro Tanizaki
• Brandon LaBelle
• Barry Blesser, Linda-Ruth Salter
• Goethe

Sonic Architecture