audible architectural models
design tools | sound files by urs walter + olaf schäfer
analysis aural ity soundscapes
sound typologies presentation tools
soundscapes: essential qualities of architectural space An increasing awareness of the sounds in our cities raises new questions regarding the way we plan and build our environment. Notwithstanding the increasing interest amongst architects and designers of the acoustics of our urban areas, however, the actual methods for developing and containing sound remain relatively unexplored within architectural practices. Even when acoustical qualities are brought into focus, sketches, plans, calculations and models remain silent. A dependent on mute tools alone reinforces an already existing detachment from the specific site. The designer acts, decoupled from the perceptible sonic experience, and is deaf towards the specific soundscape which the designed space will create. Nonetheless, it is the complex structure of of everyday sounds that to a great extent contributes to spatial identity. We listen to space as multilayered actions taking place. In relation to the very location of the listener, the interplay of everyday sounds manifest surface qualities, structural parameters, functional relations and spatial transition. Since sounds can also reveal the time of the day, the weather and even the time of the year, they introduce these ephemeral parameters as tools to shape soundscapes and as intrinsic qualities of architectural space. We therefore aim to promote the awareness of the sonic consequences of architectural planning and to implement sound itself as a basis of the design process. sound models as an architectural media In our work and our teaching we develop sound models to aurally communicate architecture. The models are not exact auralisations but sonic sketches generating a specific spatial imagination that make certain atmospheric impressions audible. We propose to use them in discussion with clients, colleagues or even acousticians in order to define basic requirements at the preliminary design stage. By sound models, we mean stereo-recordings of sounds edited for an architectural proposal, listened to via headphones or loudspeakers. The recordings are made at the site but also in spaces with sounds or activities similar to the proposed soundscape. The process of editing these recordings means cutting and mixing the sounds in order to reconfigure those spaces; by doing so the new space is made audible. With the use of audio effects, acoustical characteristics can be modified to test different proportions and materials.
typologies of architectural sound models We can distinguish three specific typologies within architectural sound modelling – although each model could be assigned to more than one singular typology. A first type of model documents spatial qualities from a fixed physical location. This method of creating a constant audible sound-perspective enables the listener to grasp acuity in detail. Additional sound perspectives can be compiled in a way similar to a set of architectural elevations. By comparing contrasting moments in everyday use, these models can highlight shifting atmospheres referring to different activities in the very same space. The second type of model presents an architectural proposal through real-time sound-walks through space. The listener follows a protagonist through his or her particular activities, such as driving, walking or talking. Specific spatial qualities are revealed by the protagonist‘s interactions. These models enable the listener to enter a larger area of the design and emphasise functional relations and the changing atmospheres of spatial sequences. Finally, a third type of model is the linking of fragments of different places and times to create a characteristic sound-collage. This kind of model is still a continuous sound file, however, its nature is comparable to rather abstract media such as mappings or section drawings. Temporal and spatial breaks and ruptures are used to generate multilayered experiences. This method of cutting and pasting key scenarios is particularly suitable to manifest elementary atmospheric qualities of the architectural design. using sound models in practice (an example) In our work we have used sound models to design a reading hall (a lounge for reading, to do homework, access to periodical papers and magazines) for a secondary school. From our own experience we noticed that the acoustic surroundings of libraries affect the way that people manage to retreat for concentrated reading. We therefore analysed recordings from different places where people were reading – not only libraries, but also in book shops, on local trains and in public spaces. Rather than just volume, other sound characteristics create appropriate acoustic surroundings for reading; in particular, how single sound events are appreciated and how these sounds relate to each other. Some main characteristics of a positive reading soundscape would be • a spatially wide sound-spectrum, where you can hear distant sounds as well as very near ones. • sound that seems to be caused by rather calm activities. • sounds that are reliably periodic and steady, with no abrupt changes.
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