We then recorded sounds from the school, which we assumed were likely to be heard in the new reading hall. Since the hall was meant to be the heart of the school we were operating with lots of potentially disturbing sounds, such as students running around and shouting. Having defined the operating principles for adequate sound- spheres we mixed our school recordings, trying to achieve a sound model for the reading hall with similar positive characteristics. Instead of minimising the sound level, our strategy was to add complementary sounds – activities – which would help to present the expected turbulent sounds in a different and calmer way. In the entrance zone for example, we located a sitting area with couches where students gather and chat. As a result the calmer sounds of talking while sitting mix with the turbulent sounds of students walking by. Thus the acoustic surrounding as a whole appeared to be calmer. We added a small cafeteria nearby that contributed the constant rattling of dishes, complementing very well the rumbling sound of bags being thrown on desks or floors. We also made the outside walls more permeable for traffic sounds to spatially widen the audible sound- spectrum. Here sound models were used in an early stage. They are first sketches to be discussed with the client in order to define the basic requirements of the preliminary design. Specifically, we composed two models: one morning scene and one afternoon scene. These two different sound perspectives made it possible to reflect the use of this hall both during school lessons and when used for free-time work in the afternoon. further intrinsic advantages to using sound tools Because of their multifaceted approach, sound models are capable of expressing both commonly unregarded and difficult to communicate needs. Examples of works created in our latest seminar illustrate this ability. In Adriana’s ‘Fragments of a City campus’ the sound of stairs emphasise the spacious depth and liveliness of a central hall; whereas in Tomme’s auralisation ‘my nature tunnel’ the climbing of stairs – triggered by the rhythm of steps and the character of surface material – generates an airy, relaxing sensation. Ida’s work, ‘Every door is an opportunity’, plays with the moment of surprise when opening a door and entering another room. This sound piece takes the listener on a tour through various spatial transitions. Familiar sounds from different surroundings are blended together in a continuous sound trip though our everyday life — for instance, the sound of the opening of doors in the subway turns into the rattling of keys when passing through an apartment door. The recording makes
the listener question whether these familiar sounds make us anticipate what lies behind the door. Are they the fitting frame for the upcoming event? Do particular sounds make us feel a slight moment of hesitation while passing the threshold before entering a new space? The work easily illustrates how the sound of doors affects the atmosphere of a space. In contrast, Bastian’s ‘short cut’ ignores doors and windows but lets the listener aurally pass through walls and ceilings, adjacent but structurally disconnected spaces are being compared. The auditory consequences of strictly separated rooms and spaces come into question: in how far do sonic separations (or sonic connections) affect the use and thereby the soundscapes of those spaces? Even subtle and rather ephemeral qualities of space are the subject matter of sound models, which in our experience are difficult to express by conventional architectural tools. conclusion We see a necessity to make sound part both of the intention and the tools of architecture. Since sound models give the impression of full scale mock- ups, their high precision in detail allows an extensive and multi-layered sense of the designed architectural situation. The special nature of the sound model allows us to work with the actual experience of space. Not only do they extend the tools of architectural planning but they also help designers to understand the sonic consequences of their work. Even in untrained listeners sound models provoke an immediate sense of architectural design. They circumvent traditional codes, such as architectural drawings, which can be difficult to read for lay persons. Working with sound auralisation would enhance user participation in the designing process – a matter we hope to investigate further in the future. j
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Sound files included: Adriana Osanu, Ida Lautanala, Reading Hall afternoon, Reading Hall morning
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