SONIC CITY
VALPARAISO | Research
Michael de Beer
Methods & Analysis
Msc 3 studio | P2
2017 - 2018
2
CONTENTS
Introduction
4
Sonic Landscape
8
Viewing Point
Restaurant Cabrada
City Cemetery
Cultural Park
City Street
City Street at night
sotomayor
Hilltop sound
High Cabrada
A Sonic pallet
9
10
11
12
13
14
15
16
17
18
Designing with sound
20
Resonance
Reverberation
Typologies of sound
Site
Sections | Sound & Site
Balloon | Sound Elevation
Urban Situation
Urban Condition
Site
Site Diagrams
ACT|Sonic Presence
Sonic Intermission
Sonic Intervention
Sonic Presence
Tools
Sonic Spatial Acts
Situating the act
Problem Statement | Proposal
20
21
22
24
28
30
32
36
40
46
54
54
55
56
57
58
60
60
Proposal | School
62
Conclusion
68
Bibliography
70
4
Introduction
The following report contains
the research leading to the P2
presentation that aims to inform
the graduation project to follow, for
the Methods and Analysis 2017 –
2018 Studio. The work contained
here in follows from the field trip
to Valparaiso, Chile, where the
project is situated. In positioning
the research contained herein, the
introduction serves to introduce the
Chilean School methodology that
informed the research as well as
the focus on sound that leads to a
project intervention proposal.
The Chair of Methods and Analysis
- positioned amongst several
studios at TU Delft - aims to form
a critical body of knowledge on
how architecture is formulated.
The position is concerned with the
quasi-autonomy (Standford ,2011)
of architecture, which acknowledges
that external knowledge basesA
influence architectural practice
and theory. This however, positions
a critical need to develop and
understand those aspects that make
up architectures internal knowledge
baseB. In doing so, the chair
holds a particular fascination with
A: External bodies of knowledge; are
bodies of thought that have occurred
external to architectural theory and
practice and have had an impact on the
field.
B: Internal bodies of knowledge are those
developments and theories that have
occurred within the field. Examples of
this range from the works of Palladio’s to
positions, theories and methodologies such
as the 5 pillars of architecture developed
by Le Corbusier.
the design attitudes, methods and
instruments in practice and theory.
The theory thesis completed in
the Msc2, Place as Experience,
had critically reflected on what
makes a place a place. What are the
cognitive and affective processes that
meaningfully impact people. Arguing
for experience as being fundamental
to the formation of places and
advocating that action and sensation
are key factors to this dynamic. This
line of thought positioned a need
for further interrogation that the
Graduation project in the studio of
Methods and Analysis would allow
for.
The Chilean school methodology,
introduced as an introductory
workshop to the studio draws on the
work of the Amereida group and the
Open City. The late Alberto CruzC ,
was one of the proponents in a major
shift in revolutionising architecture
in Chile, advocating for a modern
response to architecture. Three
fundamental principles underpin
this methodology - The POET as a
point of inspiration and creation; the
ACT as the understanding of man’s
occupation; and the TRAVESÍAS
through traveling in the continent
and learning from other ways of
doing. Cruz drew together the
scientific tradition of observation
and experimentation with art and
life – enacting the methodology as
a creative act. Three techniques
C: Alberto Cruz, a Chilean architect and
director of the Institute of Architecture of
Pontifical Catholic University of Valparaíso
and one of the founders of the Amereida
group and Open City in 1952.
5
1. Intervention
in the Open City,
Chile as part of
the completion of
the irst quarter
methodological
focused research.
Photo by Oscar
Andrade Castro
2. A home in the
Open City. Photo
by Author
underpin the methodological
approach; namely ronda, the
act of working as a collective;
observation as a translation of the
act ; and the pomenor - developing
an object in a day as a component
of a greater whole translates
these methods into space. The
methodology emphasises the spatial
intention and articulation through
making as a collective process with
undetermined outcomes. Another
core aspect is that failures in the
process are seen as key informants
to the methodological process as
they create a frame for creation.
Cruz and the Amereida draw
together praxeology and
phenomenology through a
methodological approach, situating
the creator/s in a space. By
emphasising an iterative responsive
process of collaboration, nuanced
projects are formed. However, as
an individual graduation project,
the collaborative and ambiguous
direction that the process is
underpinned by makes the
methodology unsuitable in a TUDelft
graduation environment. However,
core principles of understanding the
spatial act, the spatial phenomenon
and building a kit of parts, enable
tools and a methodology that are
implementable in this environment.
6
3. Capilla del
Monasterio
Benedictino by
Gabriel Guarda,
Martín Correa .
constructed in
1964
Observation as a primary tool is
common to both praxeological and
phenomenological processes, with a
difference in subject and intention.
However, research by Atelier
Bow-wow emphasises that people’s
actions are linked to the qualities
inherent in a place. The work not
only interrogates how the act occurs
but why the act is occurring. The
secondary inquiry talks of those
site-specific qualities that emphasise
affective influences of place. The
mechanism/ methodology of
developing principles and spatial
parts from these qualities enables
a juncture between theoretical
and practical where observations
are able to manifest spatially –
reiterating the approach of the
Amereida group. This merger of
techniques enables a method that
enables an approach to the research
that would enable the articulation
of research into a spatial
intervention – into architecture.
dramatic changes and highly affective
qualities that are seemingly aligned
to activity situated an opportunity
to understand sound as an Act – a
merger of the Amereida and before
mentioned theoretical paper – a
merger of the act and sensation.
Sound is not a new phenonmen in
architecture and has a long lineage
of intentional application due to
its highly experiential qualities.
However, sounds usage has
increasingly been overshadowed by
the dominance of sight. The doctrine
of visually orientated work that has
been further entrenched through
mechanisms of representation has
drawn architects away from thinking
and intentionally using sound in
design and implementation. This
secondary element of sound in
practice situated a further motivation
to undertake research in the
dynamics of sound to understand
how it may be used and applied in
architectural.
From the onsite research, sound was
positioned as being a critical part
of the context of Valparaiso. Its
To understand the particularity
of a sonic act in Valparaiso, it is
important to gain an insight of sound
7
4. School kid
laughing in the
street. Photo by
Author
and formulate normative principles
and conclusions as a basis from
which the act could be situated.
The research employs various tools
to observe, document and analyse
sound and its occupation in the city.
This research leads to informing
the act - presence- as being a
relationship through sound that
people and things interact via. The
positioning of the act is critical in
that enables understanding of how
the interaction between sound and
people occur within the commons.
In so doing it formulates a
framework of intention from which
sound may be used to intentionally
design by understanding how it
interacts with us. This critical
insight supported by the research
of site in relation to sound – and
its selection using sound- enables
a means to define an intervention
that is contextually sensitive and
focused on building meaningful
environments.
In concluding and presenting the
research, it must be said that site visit
to Chile had been unquestionably
a revealing experience. A context
and ethos embedded in the city, is a
true common as people live as part
of the space of appearance. The
efforts by the Ameriada and the
Open City reflected an alternative
approach while buildings such as the
Capilla del Monasterio Benedictino
in Santiago were awe inspiring,
truly underlining an architecture
of experience. It is in this breathtaking context that the proposed
project is to be situated as external
dialectic to on-going search for the
role of architecture in a post-colonial
context.
8
Sonic Landscape
Valparaiso’s dynamic landscape
offers variety of spaces throughout
the city that are unique in form
and sonic qualities. The diagrams
below representing the varied types
of environments in the city form
a frame in documenting the sonic
environment of these differential
landscapes. The observations taken
at various locations in the city
aim to offer a unique insight to
these spaces and out sound may be
spatialised.
Yet when understanding sound
as a landscape and the form of
representation used several key
points ought to be made: The
representation of sound remains
detached from its atmospheric and
affective qualities. Rather sound
is documented descriptively and
comparatively. The source, intensity,
rhythm and quality of the sound
are focused on to give an insight on
those elements contributing to the
sonic landscape. In doing so, 5 min
clips offer a glimpse of characteristics
of varied environments forming a
palette from which to understand
the city. It must be noted, that these
landscapes vary in quality through
time (day, season, year, event) and
the 5 min excerpts aim rather to give
a dynamic range of those qualities
which make up the everyday sound
of the city. Here events, such as
protests and festivals have been
omitted from the study as being the
exception aiming rather to document
the ordinary elements that form
Valparaiso’s unique sonic landscape.
Hill top community
Hill top community
Hill top community
Threshold :
Developed
Threshold :
Vegetation
River in Valley - Developed
CONDITION 1
5. Diagram of
Valparaiso’s
landscape and
the inluence of
topography on
developing unique
environments with
various threshold
conditions.
CONDITION 2
Access city
Threshold :
Agriculture
River in Valley - Undeveloped
CONDITION 3
Access ring road
CONDITION 4
Urban fringe
Hill tops, small buildings & less
dense in a regular pattern
Hills, dense topographical layout
City junction : rural /urban
City Centre, dense grid pattern
Viewing Point
T:1
Continues hum of the city below
9
People talking
Sound of setting up a
trading table
Laughing
People talking
Hooting
Seagull
People talking
Footsteps
T:2
Dogbark
Seagull
Shouting / calling
Seagull
T:3
Dogbark
Church Bells in the
distance
T:4
Footsteps
a dog and
a man
T:5
Church Bells in the
distance
10
Conversation
Rustling leaves
Birds
Hum of the city below
T:1
Conversation
Birds
T:2
Conversation
Birds
Dog Barking
Plates and cutlery
Laughter
T:3
Conversation
Birds
Conversation
Plates and cutlery
T:4
Hum of the city below
Conversation
T:5
Birds
Restaurant
Cabrada
Continues hum
of the city below
T:4
T:5
T:3
Hooting
Birds
Birds
Wind
Birds
Hooting
Walk through the
wall threshold
City Cemetery
Walk through wall
threshold onto the
balcony overlokking
the city
Continues hum of the city below
T:2
Sound of footsteps
on gravel
Inaudable City
11
Birds
Birds
Birds
Seagull
T:1
Birds
Wind
Birds
Shouting in the distance
Birds
Wind
Wind
Screatching car
Wind
Hooting
Wind
People talking nearby
12
Conversation
nearby
Laughter
Dog bark
Ball punt
T:1
Music from a
live band
Children
Shouting
and playing
football
Ball punt
Conversation
nearby
T:2
Laughter
Ball punt
Shouting
Wind
Shouting
T:3
Dog bark
Indistinct
chatter
Ball punt
T:4
Indistinct
chatter
Music from a
live band
T:5
Dog bark
Indistinct
chatter
Whistle
Cultural Park
13
City Street
Children laugh
cars drives past
Bus
stops
cars drives past
People talking
cars drives past
Hooting
T:1
Music from
a shop
slamming door
cars drives past
Luaghing
T:2
cars drives past
distant city
Bus stops
people get on
car drives past
cars drives past
T:3
Screatching breaks
cars drives past
People talking
cars drives past
cars drives past
Hooting
cars drives past
T:4
Calling
cars drives past
Music
People talking
cars drives past
T:5
14
City Street
at night
Full band
playing music in
Plaza Anibal
Pinto
Start walking
away from
music
T:1
Turn around city
block corner
Dog Barking
Turn Corner
T:4
Vehicular Street
T:5
People Talking Nearby
T:3
Quiet street \ Plaza
T:2
15
sotomayor
Bus Radio playing
football match while
idleing
Lights turn Green
Bus Leaves
Vehicles roar
into motion and
speed past
T:1
Distant hooting
The hatch denotes the sound of
alarms and beeping from the
harbour that is only audible
when there are no vehicles
around
Three cars rush
past
T:2
Footsteps and the
crunching of packaging
Lights turn Green
A rattling trailer
T:3
Screatching breaks
Lights turn Green
A continous
flow of cars pass
A bus rattles to a stop as
it engine remains idleing
and doors open
T:4
Nearby voices of people
talking
Hooting
T:5
16
High sound
reverberation
CHOW!
Children Laughing
BONAS DIAS
Indistinct conversation
from above
T:1
Talking
Door Slams
Hooting
Car drives past
Laughing
Car drives past
Hooting
Bus aproachs and
stops
Bus idles
T:2
Bus leaves
Whistle
Child Cries
Indistinct conversation
and laughing
T:3
People Talking to
bus driver while bus
idles
Bus leaves
Car drives past
Someone walking
heavily and slowly
over nearby gravel
Bus aproachs and
stops
T:4
Indistinct conversation
between women
Car drives past
Car drives past
Children shouting and
dogs barking in the
distance
T:5
Bus leaves
the distant harbour alarms
Hilltop sound
17
High Cabrada
Dogs Barking
Nearby
Shouting
Indistinct chatter
Truck drives in the
distance
T:1
Kids laughing
Shouting
T:2
Indistinct chatter
Car drives past
Car drives past
Car drives past
Indistinct chatter
Birds singing and
dogs barking in the
distance
T:3
Dogs Barking
Nearby
T:4
Hammering
T:5
18
A Sonic pallet
The study highlights a rich palette
of everyday sonic elements that
create the sonic landscape of
Valparaiso. Yet it also shows the
variety of soundscapes that make
up the city. From the loud inner city
to the quite Valleys – the sound of
the city shifts dramatically due to
the compositions that are formed.
The hallmark differentiation is
rather of intensity and rhythm as
well as of being a participant or an
observer. Soundscapes in this sense
become a balance of how people act
in space but also mechanical noises
denoting traffic, trading, harbour
and building work. The soundscapes
define territories within the city the
align to the diagrams of the city.
The study of the everyday, builds
a palette of the noise of the city,
the collective noise of birds, dogs,
buses and people. However to
give reverence to the study several
observation/ principles are put
forward to offer an understanding
of sonic landscapes. These insights
aim to form a guiding framework to
working with sound.
Observations & Principles
1
Sound = sonic element
In the complex sonic environments that we inhabit, one is constantly
bombarded by an array of sounds. Analysing them as waves and
troughs highlights the overlap and seemingly unidentifiable jumble
of noise that meets our ears. Recording studios go to great length
in isolating sound, designed to minimise reverberation and exclude
and separate various sounds. Yet – astonishingly – we can discern
varied sounds in a complex sonic environment. We can have in-depth
conversations in the most unsuitable of situations. This is due to the
brains unique ability for pattern recognition. Sounds are discernable
and in this sense have a strong link to those elements that they are
associated with - sonic-elements.
2
Soundsapces situate & orientate
Soundscapes exist beyond the visual realm. They are composed
of varied sonic elements that form an environment, a spatial
composition. These ensembles are composed of how sounds interact
with an environment and intuitively offer an understanding of
dimension, materiality and space. As Pallasmaa (2017) describes the
ability of sound to orientate and situate, he highlights how in the
dark the dripping of water carves out a void in our imagination –
Sound gives form. Yet soundscapes also place one in the world – in
our socio- cultural landscape. Sound as a composition constructs a
sense of place – it not only positions one in space but also gives an
understanding of what that space is. It allows one to form a nuanced
awareness that is unattainable through sight.
19
3
Soundscapes are Affective
4
Sound as an Act
5
Soundscapes as spaces of
appearance
Blesser (2009) draws a clear distinction in defining aural landscapes as a
phenomenon of experience - that sound is able to be measured and quantified
yet it is the intangible ability of sound to AFFECT us which is critical for
architecture. It’s affective quality, not only influences how one feels but also how
one acts in response. It reverberates through us physically, directly engaging
the body and influencing how one physically feels. It also stimulates memory,
drawing on past experience as well as engages our sense of being, stimulating
emotional and cognitive responses. Collectively these attributes of sound position
soundscapes as highly experiential and in turn impactful environments.
To listen and to make a sound is both an act. Underappreciated, these
acts are fundamental to how we navigate the world and this has been
informed from a long lineage of cultural influences. To walk softly in
a library, or scream at the top of ones voice in a protest, to change
the way one talks in a crowded elevator. These actions seem natural unconscious – however, it is closely linked to behaviour in social and
environmental circumstance. We readily adjust the tone and level of
our voice or the manner in which we listen according to the situation.
Ganchrow (2017) highlights how we do not simply listen, but actively
listen by making gestures and sounds that denote the act. During an a
cappella performance in a small space or a church, this is pronounced
as one is aware of ones own presence – holding in the sneeze to the
end of performance. The extreme situation however is true of the
everyday as one navigates ones own interaction with collective sounds
and society. The notion of presences is linked to the act as to make
a sound is to alter the soundscape and denote ones existence. In this
sense sound as an act is closely linked to behaviour and presence.
The space of appearance as the public body, a temporal definition
of seeing public space as a verb rather than a noun draws to the fore
the interaction of sound in the landscape of the city. Sound as an act,
drawing forward the notion of presence highlights how individuals
create the public through their interaction with-it. Examples in
Valparaiso are; the beginning of the student protest where the
hills and city both filled with the sound of clang metal as citizens
throughout the city supported the movement; or the end of the
America’s cup where horn’s and shouting resonated through the city
as a amphitheatre for celebration. Sound expands the public realm
into the home as it permeates walls and ones private domain. It is the
everyday where sound as an act is seen as a constant mediation of
society. In the words of historian Peralto (2009), “Valparaiso is place
of harmonic disorder”, where chaos remains in careful balance.
20
Designing with sound
Shea Trahan (2015), in a Ted Talk
on the Architecture of sound,
advocates for the science of sound
when designing spaces. Sound is
quantifiable and holds discernable
characteristics and qualities.
Trahan, highlights how humans are
able to hear 10 times the range that
we can see - making our auditory
sense significantly more receptive
6. Ħal-Salieni
Hypogeum, Malta.
Is speciically
designed to
resonate at 110
Hz causing an
ampliication
of sound and a
speciic sound.
https://www.youtube.
com/watch?v=RBMF4e-1bg (accessed:
23/12/2017)
and acute than sight. The position
advocates that sound is highly
affective however for architects it also
is malleable and implementable due
to its quantifiable aspects.
Using two cases Trahan (2015)
position resonance and reverberation
as being core principles of how
sound interacts with space and
creates sonic environments. These
Resonance
Resonance is the “intensification of sound produced by sympathetic
vibrations” (Trahan, 2015) When sound interacts it often dilutes the
wave pattern and thus the pitch. However, when a sound interacts with
a sympathetic vibration it amplifies increasing the pitch. Sound is a
traveling longitudinal wavelength, which we perceive and can be measured
in hertz. Importantly this form of measure has dimension and through
that it offers an insight to sounds form. The Ħal-Saflieni Hypogeum, in
Malta, constructed in the Bronze Age is one such space that enables the
amplification of sound at 110Hz. The chambers shape enables the reflection
of sound to interact in a sympathetic manner to create a unique sonic
environment.
21
two fundamental insights are
not new to architecture and
hold a strong lineage in sonic
structures. In understanding these
two characteristics, the drawings
below are extracts from Trahan’s
presentation and serve as case
examples. Critically, these two
fundamental aspects aim to serve
as tools during the design phase of
the project to form environments
with specific sonic intentions.
Supported by the research
undertaken in the study of
sounds, acts and site, the analysis
would be able to be quantifiably
supported during the design
phase of the project and thus
form a defensible position in
advocating for a design outcome.
Reverberation
Reverberation is “the collection of reflected sounds from the surfaces in an
enclosure” (Trahan, 2015). In other words it is the amount of time sound
lingers in a space after the source sound is gone” ” (Trahan, 2015). Most
spaces have a reverberation time of around three to four seconds. The case
of the Baptistery of Saint John in Pisa has a reverberation time of up to 14
seconds. This is caused because sound is reverberating through the space is
several different ways, toward the coned roof with its secondary resonating
chamber amplifing the vibrations, of the internal walls and columns as well
as the numerous nooks and crannies within the space, which creates multiple
instances of the source sound having to travel differential lengths to return
to the source.
7. Baptistery of
Saint John in Pisa,
has up to a 14
second delay of
sound due to how
sound resonates in
the space. https://
www.youtube.com/
watch?v=R-BMF4e-1bg
(accessed: 23/12/2017)
22
Typologies of sound
The typologies of sound presented, are a range of different spatial forms
that interact with sound in various ways. The aim of presenting the range of
types enables a concise and broad scan of ways of working with sound. This
is critical, as the research has predominantly focused on analysing types of
sounds and their interactions with the city and people. In moving toward the
second phase of the graduation project, as a design phase, it is important to
understand the variety of possibilities when working with soundscapes. Thus
broadening ones frame of reference.
8. The Danish
Music Museum,
Denmark, designed
by ADEPT, uses
various materials
to create sonic
spaces for speciic
instruments. adept.
dk
9. Anechoic
chambers are
spaces that aim
to reduce the
relection of
sound and are
predominately
used for recording
and analysing
sound. thespaces.com
10. Aalto design of
a lecture theatre
ceiling by studying
how sound moves
in the space.
archdaily.com
11. Sound mirrors
were constructed
in Britain between
1916 and 1930 to
relect the sound
of oncoming
aircraft as an early
warning system.
andrewgrantham.co.uk
23
16. Bernhard
Leitner an
installation artist
focusing on sound
spaces, creates
installations
focused on
peoples interaction
with sound.
archdaily.com
12. Tate Modern
pavilion, featuring
ilms playing at the
same time aims to
create an inaudible
space, however
upon approaching
the ilms they
become audible.
Indiewire.com
13. Music Hall
at the Āli Qapu
Palace, Iran, has
a intricate ceiling
that interacts with
sound to form a
harmonious space
for the playing of
music. thespaces.com
14. Forest
megaphones in
Estonia, installed
by students aims
to concentrate
or project sound
in the and of the
forest. dezeen.com
15. Tvísöngur,
Iceland, is a
concrete structure
of 5 intersecting
domes, each
designed to
amplify a speciic
tone representing
Icelandic musical
tradition of ivetone harmony.
thespaces.com
24
Site
Positioning a site in the city
became a research task in itself.
Four core informants aided in
the research and selection of the
site. The first was the case of the
threshold in the city as a distinctive
boundary between hills and city,
which impacts on urban form and
movement patterns in various
ways. The second was the valley
or quebrada, which is a unique
phenomenon to the city, offering
ecosystems as fauna and flora cut
through the terrain creating a high
contrast to the urbanity surrounding
it. Thirdly, the high vacancy and
derelict historic structures called
for a need to intervene and offer
solutions of reuse in a city searching
for land to occupy. Lastly, sounds
were a major informant as the city
created stark transitions between
sonic landscapes and at times
were completely over powering.
The combination of these factors
enabled a means to easily select an
area that correlates with the four
issues: the valley between Cerro
cordillera and Allegra.
17. Sketch of the
City as a hand
- symbolising
the unqie way
in which the city
functions and the
morphology climbs
the hills - forming
an amphitheater .
The city as an amphitheatre creates
a unique sonic landscape where the
sound throughout the city is captured
and highly audible. The hand below
shows a merger of this amphitheatre
presence as the plan touches the
hills and forms various junctions and
divisions. A particular fascination
was that the hills, due to the steep
valleys, are physically separated; yet
sound transcends these barriers and
becomes a social bridge.
To understand the dynamic and
inform site selection, a scale model
and auditory movement exercise
was undertaken to understand how
sound related to specific points of
opportunity within the valley extent.
The topography formed natural sonic
thresholds as well as highlighted
a unique relationship of sound to
specific localities. Interested in
positioning a site that meets the four
previously stated criteria, the site of
the Lord Cochrane’s Museum and
viewing point was positioned as being
the most dynamic as it experienced
a wide variety of sonic landscapes
as well as being situated in a critical
threshold of high vacancies.
The highlighted site at the bottom
of the valley and facing the city
remained sonically highly connected
to the valley through sound. In this
sense it offers the opportunity to
connect to those aspects, which make
the natural landscape unique, while
offering a means to bridge the city
and hill threshold sonically.
25
Chossen Site:
Historic vacant
site on key
threshold position
between hills and
city
Sonic threshold
Valley at pinch
point in Cerro
Cordillera
Key junction - Valley
connection Cerro Alegre
Sonic threshold
Brown field site earmarked
for development
Cordillera Football
Pitch
Open valley
community garden
18. SOUND
MOVEMENT IN
THE VALLEY
Mapping sound
in the valley to
understand sonic
relationships and
identify areas of
intervention.
1:10 000
26
Metro
station
Colectivos
Terminal
Pinch point
Pinch point
Bus line
19. Map illustrating
movement and
threshold
1: 10 000
20. Map illustrating
sound relationship
city and site
1:10 000
Threshold and connectivity
The site is situated in threshold
between in the city highlighting
a joining between city and hill
cordillera. The site is also highly
accessible from the hills and
city as it is surrounded by key
infrastructure: Bus, coleectivos,
funicular and stairs
Varied Sonic Landscape
As one moves around the site
the sonic qualities of the site
dramatically changes in response
to the surrounding landscape. It
creates niches of unique experience
while offering varied sonic
environments, underpinning why
the site had been chosen.
27
21. 400m walking
distance
1: 10 000
The pedestrian landscape
The pedestrian mapping of 400m,
20min walk, offers an alternative
perspective that situates the site
as part of the plan more than
the hills. This critical insight
positions the user group of the
site to be of the city over that of
Cordillera. However, the site holds
a dual relationship between being
connected to a low socio-economic
community while at the same time
being a significant position in the
city landscape and thus holds a
significant responsibility to the
immediate community. Critically
interventions ought to be supportive
of both environments.
28
Sections | Sound & Site
23. SECTION OF PLAZA JUSTICA
1:2500
Cordillera
Valley
Cordillera
Mini-Soccer Pitch
Lord
Cochrane’s
Museum
22. SECTION OF VALLEY TO PORT
1:2500
24. SECTION OF PLAZA JUSTICA
1:5000
Port
Site
25. SECTION OF PLAZA ECHAURREN
1:2500
Iglesia de la Matriz
Plaza Echaurren
29
Lord
Cochrane’s
Museum
Cerro Alegre Viewing Point
Plaza Justicia
Sotomayor
Port
Parroquia Perpetuo
Socorro
Cordillera
Community
Amphitheater
Lord
Cochrane’s
Museum
Cordillera
Site
Cerro Alegre
30
The sound of dogs and birds become audible
Balloon | Sound
Elevation
Sound of the Hills
Transition where the
sound of the hills
becomes clear
Hooting
Using a balloon with a specialised
T : 8 microphone, a recording of sound
Barking
Hooting
Clanking
metal
Barking
Barking
Hooting
T : 5 The recording taken at Sotomayor,
Alarms of the
harbour become
audible
Position of site
Sound of the City
Transition where the
sound of the city and
harbour become audible
as the balloon clears the
building
Hooting
Hooting
adjacent to the site, shows three
distinct changes in the vertical
landscape. These qualities were
especially surprising as the highest
T : 4 elevation, the hills, although far away,
became audible. The importance
of the study positions the site along
this elevation and offers a concise
summary of the experiences within
the city.
T:3
building height line
Cars drive past
Hooting
Cars drive past
Police Sirens
Sotomayor Square
was taken from Sotomayor that
clearly draws forward the notion
of sonic elevation. The recording,
conducted by Ariel Bustamante,
was taken and analysed in the
T:7
same manner in which the sound
clips of Valparaiso were analysed.
Searching for transitions in sound
and distinctive characteristics. The
analysis was broken up into decent
T : 6 and accent as direction of movement
of the balloon has an impact on the
auditory qualities due to the Doppler
effect.
Cars drive past
At first the sound of the square, load
and burdened by the roar of engines
and tires on gravel, is encapsulated
by the buildings surrounding the
T : 2 space. As the balloon clears the
heights of the buildings, the sound
immediately changes, as the sounds
of the city become audible- harbour
sirens, the noise of cars is more
ubiquitous, hooting and alarms,
T:1
metal clanging and indistinguishable
activity and music. The third
transition is marked by the sound of
the city become a distant low hum,
where immediately the sound of the
hills become clear. Here, surprisingly,
the sound of birds chirping and
dogs barking become audible,
despite the noisy city below.
The analysis shows a key dynamic
with how the cities sonic landscape
is differentiated vertically. However,
it is critical to also not that the
immediate context has direct
effect on what sounds audible. The
example of the cemetery reiterates
this point, as a simple wall is able
to redirect sound and in this case
dampen the noise of the city. It
is these techniques which offer
an insight to how sound can be
manipulated to form intended
environments.
The sound of dogs and birds
become audible
31
T : 10
T : 11
Hooting
T : 12
Hooting
Hooting
Sound of the Hills
Transition where the
sound of the hills
disapear
T : 13
Screatching car
Position of site
Hooting
T : 14
building height line
T : 15
Hooting
Sound of the City
Transition where the
sound of the city and
harbour become
audible
T : 16
Hooting
Bus
T : 17
Sotomayor Square
32
Iglesia de la Matriz
Urban Situation
Plaza Echaurren
Policia De
Investigaciones
Ascensor
Cordillera
Faculty of
Humanities
Plaza Eleuterio
Ramirez
Lord
Cochrane’s
Museum
Valparaiso
Family Court
Court of
Apeals
33
Port
Customs Offices
Waterfront
Port
Train Station
Plaza Sotomayor
Market and
exhibition space
Balloon test
Naval
Headquaters
National Arts
and Culture
Centre
Plaza Justicia
Interoceanica
Building
Plaza Justicia
health services
26. Plan of Site
and City
1:2000
Ascensor El Peral
34
Plaza Justicia
Plaza Sotomayor
35
Lord
Cochrane’s
Museum
Plaza Eleuterio
Ramirez
Plaza Echaurren
36
Urban Condition
27. Vacancy 1:5000
Derelict Zone
Vacant Plots
Site
Renovation
Vacancy is a major issue in the
area. Ranging from large to small,
various sites are at different stages
of degradation. The highlighted
sites indicate areas that are not
occupied. The general highlighted
area is filled with built fabric that
is in a very poor condition. Jacobs
(1961) advises of the negative effect
this has on the neighbourhood, as
border vacuums sap activity and
discourage investment.
37
28. Activity
1:5000
Activity Zone
Active edges
Kiosks
Markets
Activity defined as being related
to occupation and vibrancy of the
public realm, activity is focused in
the plan. Although there are several
shops and community centres in
the hills, these facilities support a
very small community base and thus
are dispersed. A critical insight is
that the plan has several key places
where activity is focused and others
where only a few instances occur.
This mapping is indicative of the
quality of these spaces in the plan,
as successful active frontages occur
in areas associated with frequent
pedestrian exposure. It is indicative
of the creep of blight that has
begun to form in area. Another key
insight is that the threshold in the
city, the vertical separation, creates
an immediate and juxtaposing
environment when mapped. The
mapping positions a lack of critical
mass, and situates the site as being in
a critical position to contribute to the
activity in the plan.
38
29. Districts and
Precincts 1:5000
Banking
Commercial
Residential
Public Space
Port
Institutional
Threshold
Activity Zone
Site
Walkable Area
39
The precincts highlight a stark
separation between city and hill
by way of use - commercial and
residential. This has largely been
attributed to how people move in
the city, as the hill becomes a major
threshold to cross. A critical insight
is that the hills have largely been
seen as community focused areas,
with little to no formal economic
activity. Another key insight is that
in this part of the city the transition
correlates to poor socio-economic
levels in these communities. This is
reflected in the plan below by the
condition of the built fabric and the
activity within these areas, despite
the world heritage site listing and
volume of tourists in recent years.
The site, at the border of these
distinct boundaries as well as
adjacent to the institutional
precinct, holds a key position
where an intervention may have
high degree of impact on the
surrounding fabric. This situates
Transportation
a need for the site to be highly
sensitive to its context, in not
displacing existing communities.
The research has drawn forward
the need to contribute by way of
activity and increasing pedestrian
contact time. In doing so a
multivalent design approach is
required to introduce a mix of
activities that may positively impact
the surrounding city fabric. In
doing so, proposed activities should
form extensions of the immediate
context to redefine the border
condition. The objective of this
approach should bridge the hill city
divide while acting as catalysts for
reinvestment in the plan by putting
more feet on the street.
A dual aim is thus situated to
make the site both an origin and a
junction within the city, contributing
to forming a critical mass, which the
city fabric so direly needs.
Busline
Walkable Area
30. Diagram of
threshold impact
on A
40
Secti
Site
Faculty of
Humanities
Ascensor
Cordillera
Plaza Echaurren
Housing
S
ti
ec
on
B
te
B
da
ry
on A
Si
n
ou
Secti
Housing
Plaza Eleuterio
Ramirez
Housing
41
Sot
om
ayo
r
Incomplete historic
structure
Ha
rb
ou
r
S
ti
ec
on
B
Viewing Deck
Plaza Justica
Cerro Alegre
Lord
Cochrane’s
Museum
l
Va
l ey
Garden
Apartments
Housing
31. Site 1:500
Mini - football pitch
42
Sound of the Hills
Sound of the City
Sound of the Space
Intimate
43
Space of Apearance
32. Section A
1:1000
44
45
33. Section B
1:1000
46
Site Diagrams
34. Isometric
drawing
47
Context
Retaining wall
Informing lines
Secondary framework
structures
Primary framework
structures
35. Framework
elements
1:2000
Framework elements
The framework diagrams highlights
those elements of the site that have
given form to the existing site. The
site is a brown field site, having been
occupied in the past and still is by
the museum and viewing point. The
analysis sees this as a key informant,
because within the framework
of the site is imbedded a spatial
intelligence of the past occupation
that will give guidance to the design.
The diagram, composed of 5
line types, aims to draw forward
the embedded spatial intelligence.
Primary lines and secondary lines
denote key structural elements of
the site. Informing lines and context
are additional layers of information
that are drawn forward that are key
gestures, which may not be structural
or contained in the site itself.
48
36. Sound and the
city
1:2000
Sound and the city
The following diagram draws
together various analysis’s of
sound and positions this on the
site. Critically the soundscapes
of the city illustrate places that
should be thought of as having a
positive relationship with the site
and visa verse. The diagram serves
as a guiding framework for the
intervention to situate places for
intervention that would be sonically
orientated to have a profound
relationship between site and city.
49
37. Exposure /
Visual connections
1:2000
Exposure / view
Exposure is seen to be a spatial
element contained in the site form.
Although this is strongly liked to
site – view. When integrating the
act of exposure or to expose, the
notion links to a relationship with
its surroundings. Here we see how
the site is exposed and visa verse.
This intern has informed a spatial
understanding of the site that is
linked to notions of intimacy and
points of appearance.
3
1
2
4
1.
2.
3.
4.
Hill
City Exposed
Intimate Niche
Intimate Cliff
38. Exposure zones
50
Sound funnel by
retaining wall
Sound funnel street
noise
Stairs, ascensor,
and niche
Sloped Square with
varying elements
making for niches
Courtyard
Segmented rooms
View point: no
sound obstruction,
only reflection
from behind
Courtyard
University
Walled space
Retaining wall
reflection
Street high
reverberation
Courtyard
Street low
reverberation
Sonic Zones
football
View point:
no sound
obstruction,
only reflection
from behind
Niche between
building and
retaining wall
Garden
Lessor Reflection
elements
Reflection elements
39. Sonic Zones
1:2000
Niche between
building and
Slope
Sonic Zones
The exercise of mapping zones
of sonic space intends to inform
an understanding of the various
atmospheres that are embedded
in the site. This is particularly
important due to the research focus
as well as offering an additional
layer of information that
spatialises sound. Of particular
interest is that the soundscapes
create overlays of niches and
larger realms. A key informant
to this understanding is that of
containment elements within the
framework which direct sound.
The analysis is particularly fruitful,
as opposed to other mechanisms of
understanding the spatial elements
of the site, because it offers as spatial
map that would not otherwise have
been seen on the site.
51
Supporting area
Vertical zone :
Retaining wall/ cliff
Brown field / flora
Museum & viewing
point
Zones
Sub-zones
40. Spatial zones
1:2000
Spatial Zones
The spatial zones diagram draws on
various existing informants, from
programming to use of the site and
surrounding area. The significance
of the diagram is that this would
be the normative approach to
defining a site. However, here, in
conjunction with the other research,
it serves as an informant of barriers.
Emphasizing the segmentation of
the area. This is a critical insight
highlighting how the site is made up
of distinctive areas, some of which
are similar in kind.
41. Changing
quality
52
42. Image of
site and the
poor condition
of the current
infrastructure on
the site, as well
as the vegetation
which is growing
here.
43. Ascensor
Cordillera with site
in the foreground
53
44. Image of
internal face of
surrounding walls
showing how the
entire facade has
been bricked up to
stop entrance
45. View of Valley
from site showing
the variety of
natural vegetation
and housing
navigating the
topography
54
ACT|Sonic Presence
Soundscapes exist beyond the
visual realm. They are composed
of varied sonic elements that
form an environment, a spatial
composition. These ensembles
are composed of how sounds
interact with an environment and
intuitively offer an understanding of
dimension, materiality and space.
As Pallasmaa (2017) describes the
1
ability of sound to orientate and
situate, he highlights how in the dark
the dripping of water carves out a
void in our imagination – Sound
gives form. Sound as a composition
constructs a sense of place – it not
only positions one in space but also
gives an understanding of what that
space is. Yet soundscapes also places
one in the world – in our socio-
Sonic Intermission
Pallasmaa (2017) advocates that forming tranquillity is one of the objectives
of architecture. The notion positions quietness as being an act that draws
attention to being. Expanding on this, Granchow (2017) defines quietness
not as the lack of sound but rather the lack of response (Granchow, 2017).
The position situates the auditor in a reflexive environment, where presence
is orientated on oneself. Importantly, quietness is situated not as a space
devoid of sound but rather emphasises the act as simultaneously being
separated from the world unable to intervene in it and being witness to it in
a state where it does not respond to the auditor.
46. Photograph
of chosen site in
the city
The act manifests in daily life in numerous ways and is orientated toward
the notion of intermission as being an intentional break as moment of
respite. Going to the church, sitting and watching over the city or a walk
along the promenade and even the bombardment of the electro dance floor
when dancing by oneself are all such moments of intermission. Here we
position the interaction with sound as being not quiet, in the strict definition
of the word, but rather sound which one cannot intervene in and rather
only be affected by. The position seems counter intuitive, yet the notion
of tranquillities objective which Pallasmaa (2017) positions is to draw
emphasise on being and thus it is rather a tranquillity of the mind and self,
in a state of meditative reflection.
55
cultural landscape. It allows one to
form a nuanced awareness that is
unattainable through sight. Sound is
presence, of oneself and of others.
As an act, presence is underpinned
by a relationship through which
sound is a medium. To listen and to
make a sound is a means to engage
this medium and draw attention to
2
presence. Presence as an act, is
composed of two counter acts.
The first is focused on oneself
as being (The act of Sonic
Intermission) which is opposed
the second that is external and
orientated to being present
in the world (the act of Sonic
Intervention).
Sonic Intervention
The act is one of intentionally intervening in the sonic landscape. The
definition is broad and encompasses a wide range of interventions,
from performance artists, installations, protests and even less noticeable
interventions such as altering the ambience of space. Those engaging in
the act are positioned as composers due to the notion of sound being part
of the space of appearance – the public realm. These acts intend to affect
and alter group behaviours. The sonic intervention is thus closely linked
to the commons, as it becomes a collective act where by the composer is in
constant dialogue with those who are interacting with the sonic alteration.
Opposed to the act of intermission, intervention calls for response.
To make a sound is to draw attention to ones presence while to actively
listen is to recognise that presence. Sonic intervention is thus a relationship.
Sounds ability to exceed the normative notions of the public realm, situates
the act as not being defined by public or private boundaries but rather is
seen as a common – a space of sonic mediation. Any sonic act, including
silence, is in itself an act when seen to be deliberately and part of the
collective. This positions the commons as being a navigation of various
sonic instances and actors. Appropriation through sound is widely accepted
in Valparaiso, as various composers of space exist.
56
Li
Space o f Appearanc e
Listening to the city
To
O
lf
se
ne
To somebody making noice
ste
ni
ng
Intimacy
Sonic Respite
Making sound
to a known
person or
audience
Known / Closed
To make
noise
making sound
without responce
Forum
Anonymous / Open
Making sound
to the public
City
Sonic interventions that
influences the listener and site
Sonic interventions that
influences the City and other
identified sites in the city
Loud
Intermission
47. Diagram
dissecting
the various
components, acts
and situations in
which presence
occurs
Scale of Influence
Sound of the
body in space
Public / City / Anonymous
Soft
Confidential / Known / Nich e
Sonic Presence
Inter vention
The diagram, creates four
then spatialise the acts in relation to
distinctions of the act of presence.
one another as a critical first step in
Here we see that intervention and
developing a project proposal.
intermission are both broken into
groupings of intimate and public
(space of appearance). This allows
for an understanding the various
relationships and atmospheres of the
act. In essence the diagram above
serves as means to apply a program
to, allowing for acts to be understood
in relation to one another. This tool
enables a means to understand and
57
Tools
The research has led to development
of various tools in understanding
how sound works, pulling forward
principles and developing a strategy
to use sound in design. The first part
of the research aimed to understand
the sound of the city and in so doing
looked at the quality of sound in
various cases throughout the city to
gain an insight into the act of sound.
This focus on the act, drawn from the
Chilean methodology, emphasised
how sound is intrinsically linked to
human behaviour and situated it as
a common. This critical first step of
understanding Sonic Quality from a
normative perspective informed the
secondary analysis of the site.
Tracking sound in various ways in
the context of Valparaiso and the
chosen site enabled a selection of the
site and the understanding of the site
specific sonic qualities that would be
able to inform a design propose. This
was further supported by site specific
and urban level analysis that situated
various issues and problems. The
secondary step focused on developing
a contextual understanding of the
dynamics of the site.
The final position focused on the act.
First naming and understanding it and
then experimenting in various forms
that could evoke the action. A research
methodological process informed by
a range of tool sets follows a stepped
process whereby an intervention
could then be positioned. Critically
– in positioning an intervention, the
tools used in the research form a
means to reflect and test proposals
by. This approach develops a robust
mechanism and defendable position.
Sonic Quality
1.
2.
3.
4.
5.
Sound recording
Sound Analysis
Drawing Sonic Spaces
Describing Sonic Spaces
Observing and making principles
The City
1. Sound movement and
relationships
2. Sound site quality / vertical
analysis
3. Urban analysis and mapping
4. Sonic interaction in site
5. Site analysis, qualities, mapping
Act | presence
1. Identifying an Act
2. Describing the act and its
elements
3. Diagram of the act
Act | Space
1. Using Sonic tools and
understanding of the act to form
spatial moments.
58
Sonic Spatial Acts
59
48. The sketches
form part of
the output of
the research,
interrogating how
sonic acts are able
to be spatialised.
60
Situating the act
Intermission
Intervention
There are several spaces throughout
the city that form opportunities for
intermission - offering a moment
of respite. However, these spaces
are often visually driven as viewing
points. The atmospheres in these
formalised environments are not
designed to be affective spaces, as
their core function overlooks the
experiential role these spaces could
hold. Positioning intermission as
an act, sound is situated as being a
moment focused on oneself.
The combined sound of the city
is overbearing and loud. For many
sonic composers this environment
is not conducive to creating sonic
interventions, yet sonic appropriation
is common place – a trademark of
the city. Composers either seek the
quite refuge of the stairways away
from cars, or turn up the volume to
overcome the noise. In a city where
culture is celebrated, it positions a
critical problematic for giving space
to those who sonically intervene
in the commons – in the space of
appearance.
The research has highlighted the
profound influence of sound to
affect us. Drawing on this the
problematic situates the need to
create spaces that are driven by
experiential motives. In this sense
the notion of a sonic vantage
point is positioned as space that
emphasises and draws on sound to
create an experiential space that
remains situated in the city. In turn
the aim is to offer the auditor a
reflexive space without out response.
The site, situated at the heart of the
old city, near the cultural centre as
well as other key institutions and
buildings offers an opportunity
to give a forum to the act. As a
threshold between plan and hill, it
positions a transition zone between
the two primary sonic landscapes
of the city. The act of intervention
is positioned as requiring response
and thus situates it as common. The
notion is to support this common and
in so doing nurturing the cultural
legacy of Valparaiso.
Problem Statement | Proposal
The Sonic Vantage point, a place focused on the act of presence, is situated
as being a primary intervention. A sonic place or collection of spaces, that
offer various forms of opportunities for appropriation through interacting
with sound. Positioned in the city and within the site analysis this forms a
critical focus for the project. However, the various factors influencing the
city, and blight that characterises the immediate area also situates a necessity
to perform a positive role/ a catalyst. In this sense the site is also seen as
an opportunity to offer a critical mass / infrastructure to the old city. The
programmatic proposal is a merger between the primary focus and context
where secondary functions (accommodation and/or commerce) are situated
within the framework proposal and advocate for a need to provide socailly
orientated infrastructure to support the growth of the neighborhood.
61
49. Sketch of man
with eyes closed
listening to the city
far below.
62
Proposal | School
The urban and site study combined
with sound situates several issues
that have enabled the proposal
of a secondary school and
learning centre as programmatic
additions to the public vantage
point intervention. On an urban
perspective these two programs
aim to cater to an infrastructural
need that supports the existing
educational environment as well as
offering a critical mass that aims to
support the need to develop housing
and other functions within the plan.
Accessible via public transport, the
intervention is seen to engage on
various scales, from that of the city
to the neighbourhood. It is seen to
become part of the everyday, by
engaging a varied user group, from
50. The Italian
School in
Valparaiso, City
Centre
children to parents, students and
musicians to tourists. This dynamic
range and seemingly contradictory
user group is well suited to the
various sonic opportunities that site
presents.
The secondary school, catering to
children from the ages of 6 – 13 also
serves as an opportunity to design a
sonic environment for a user group
that is highly affective. In doing so
the design aims to implement varied
spaces with the aim of achieving
three primary objectives. The
first is to create a highly affective
environment for children, the
second is two interrogate and design
space that carefully considers the
relationship between children and
63
teachers, and thirdly, carefully
considers the relationship of the
sound of a school in an urban
situation.
relationship of presence, by situating
acts in relation to each other – as
seen in the diagram below – the
design forms an informed manner
to develop a spatial response. These
spatial responses are to be normative
principles that are able to be used
as tools within the design process to
develop a project.
The following design program
draws on the wealth of research,
the methodology and tools to
develop a proposal that is focused
on the act. By focusing on the
Quiet
Spac e
A space of no
responce
orientated on
oneself drawing
attention to
being
To be by oneself
in a space of
tranquility
Interactive
Spac e
Learn
ing
Sp
Self Study
A Space of
listening to
other s
To be quiet or
make noise as
collective - A
common act
Collective
Spac e
To interact with
sound, drawing
forward the
notion of practice
To listen - to
observe from a
distance.
Intermission
es
ac
Space o f Appearanc e
Intimacy
51. Programmatic
sonic acts
A space of
active learning,
teaching
and discussio n
Group
activitie s
The sound of
children playing
in a space.
Screaming and
shouting and
singing
To listen, play
and talk in a
small group. An
intamate act .
To play in a
group in an open
space - sports,
games or
dancing.
Common
Spac e
Inter vention
64
52. Classroom
sound movement
enabling teacher
and learner
engagement
53. Sonic space
creating a forum
environment
54. Sonic space
that ampliies and
creates resonance
65
55. Varied play
environments and
containing walls
56. Sound
relationship
between spaces
57. Small group
orientated space
66
*
6
8
*
*
5
7
4
*
3
4
8
2
58. Sonic space
that ampliies and
creates resonance
*
*
5
7
8
1
2
59. Sonic space
that ampliies and
creates resonance
*
3
*
6
67
6
*
*
*
*
7
*
*
*
5
1 *
4
4
3
*
*
2
*
*
1.
2.
3.
4.
5.
Open Theatre/ Auditory space
Gymnasium / Sports hall
Classrooms
Playground
Admin & cafe
6. Learning centre
7. Public Stair way and auditory
tower
8. Existing Walls
* Sonic public Interventions
60. Sonic space
that ampliies and
creates resonance
68
Conclusion
The methodological research
process that has been followed is
drawn from various influences and
aims to approach architectural
design from an alternative approach
– sound as an act. Embedded in
the approach are many alternative
thought frames that are related
to space, yet are not spatial in
form. Rather conclusions and
principles have yield a means to
translate findings into a form by
understanding how sound, in this
case, relates to the city, ourselves
and the commons.
The analysis of sound draws
forward five core notions applicable
to spatial design: The element;
place; affect; the act; and the
commons. These principles are
critical in understanding sounds
occupation of the world around
us as well as ourselves in the
presence of sound. The normative
principles yielded two fundamental
outcomes in the research. The
first was to understand the city in
relation to sound. As result leading
to the selection of a site and how
to understand that site within a
sonic landscape. Positioned not
only on a physical threshold but
also on a sonic threshold, the site
holds multiple characteristics and
presents a diversity of opportunities
to respond to. The second is
situating the act of presence as a
relation between the act of sonic
intervention and being present.
The culmination of the various
outcomes of the research situated
a frame to position a project
proposal that would deal with the
needs of the urban environment,
while offering a unique opportunity
to develop a sonic orientated
landscape. The program proposal,
as a response to the research, is a
sonic intervention – children make
noise. The highly affective nature in
which children interact with their
environments makes the secondary
school environment an opportune
test model. Equally the vantage
point offers a means to employ sonic
interventions that would relate to
the research in an alternative frame
of the commons and the city. The
school is private and the vantage
point is public, yet both deal with the
notion of sound as a common from
differing approaches.
On an urban level the intervention
relates to the need to introduce
infrastructure that would make
the city liveable by supporting the
growth of residential and commercial
growth. By creating education
facilities and public space, the
intervention tackles the threshold
between city and hill, blurring these
distinctive barriers. The critical mass
these facilities yield by putting people
on the street is crucial to the vitality
of the area. Equally the intervention
aims to become an extension of the
everyday, as various users interact
with the site in alternative ways.
69
In concluding, the project proposal is a continuation of the research. It
aims to use design as a mechanism to understand how sound as an act may
be brought into the development of space. The objective is thus to create a
multivalent project that is situated within a precinct of wider influence- as
the boundaries of the site are not defined by the surveyor but rather the
range of children’s laughter.
61. Cemetary
balcony
overlooking the
city, a moment of
respite
70
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