Michael Kimmelman and The NYT Release Multimedia Presentation on Why "Sound Matters"

09:30 - 1 January, 2016
With their Moscow Metro proposal, Variant Studio attempted to design "the world's quietest metro platform". Image Courtesy of Variant Studio
With their Moscow Metro proposal, Variant Studio attempted to design "the world's quietest metro platform". Image Courtesy of Variant Studio

"During the Middle Ages, smell was the unspoken plague of cities," writes New York Times architecture critic Michael Kimmelman. "Today it is sound." In his latest article, entitled "Dear Architects: Sound Matters," Kimmelman breaks down an often-overlooked element of architectural design, explaining how space shapes sound, and how sound shapes our experience of a space - and imploring architects to put more thought into the sonic environments created by their designs.

TED Talk: Shea Trahan on the Relationship Between Sound and Architecture

08:00 - 15 November, 2015

“As a designer, we create architectural spaces which are de facto instruments—they contain sound, they manipulate it, they can even create sound—so we’re tasked with a very powerful tool for affecting human cognition.”

Variant Studio's Moscow Metro Proposal: The World’s Quietest Metro Station?

06:00 - 3 July, 2015
Metro Platform. Image Courtesy of Variant Studio
Metro Platform. Image Courtesy of Variant Studio

When thinking of metro stations, the word quiet generally doesn’t come to mind—with all of the train and pedestrian traffic, not only is noise produced in high quantities, but it is also echoed. With this issue in mind, London-based Variant Studio created their proposal for the competition to design the new Novoperedelkino station in Moscow, Russia. Although not selected as the winning design, Variant was one of five shortlisted teams. Learn more about their silent proposal after the break. 

Metro Platform. Image Courtesy of Variant Studio Metro Tunnel. Image Courtesy of Variant Studio Courtesy of Variant Studio Courtesy of Variant Studio +17

Images of SOM's Completed One World Trade Center in New York

01:00 - 5 November, 2014
© James Ewing OTTO
© James Ewing OTTO

The first tenant has moved into the One World Trade Center, making Monday, November 3, the official opening of the (arguably) tallest building in the Western hemisphere 13 years after the tragedy of 9/11. The “extraordinary moment was passed in the most ordinary of ways,” described the New York Times, as employees of Conde Nast entered into the white marble lobby (taken from the same quarry that produced marble for the original twin towers) and headed straight to the elevators to start their work day.

To celebrate its completion, renowned architectural photographers Iwan Baan and James Ewing took it to the sky to capture the One World Trade Center in all its glory. The images, after the break.

Designing for Sound In Our Everyday Spaces

00:00 - 6 April, 2014
The syn chron space by Carsten Nicolai was designed to combine experiences of sound and light. Image Courtesy of artcentron.com
The syn chron space by Carsten Nicolai was designed to combine experiences of sound and light. Image Courtesy of artcentron.com

In this interesting article in the New York Times, Allison Arieff highlights the often unconsidered importance of sound in architecture (outside of theaters and museums at least). She profiles the work of Acoustic Engineers at ARUP who have begun to work inschools and hospitals, taking into account the effects poor sound environments can have on us in our everyday lives. You can read the full article here.

Soundscape Architecture: A New Way to Experience Famous Buildings

09:30 - 23 February, 2014
The inside of the New York Guggenheim Museum. Image © Flickr CC User Fernando Carrasco
The inside of the New York Guggenheim Museum. Image © Flickr CC User Fernando Carrasco

There are many forms of architectural representation - from sketches to construction drawings to photographs - but they all privilege vision over any of the other senses. This problem has perhaps only been exacerbated by the internet, which has made it easier to 'experience' buildings from afar, to the detriment of four of the five senses.

Now though, Karen Van Lengen, the Kenan Professor of Architecture at the University of Virginia, has created Soundscape Architecture, a website that aims to redress this imbalance. In collaboration with artist James Welty and musician Troy Rogers, Van Lengen has used sound recordings of iconic architectural spaces to create synaesthetic animations and musical compositions of the ambient noise there.

Read on after the break for more about Soundscape Architecture

Making Space Resonate: Incorporating Sound Into Public-Interest Design

00:00 - 13 September, 2013
The syn chron space by Carsten Nicolai. Image Courtesy of artcentron.com
The syn chron space by Carsten Nicolai. Image Courtesy of artcentron.com

“The modern architect is designing for the deaf.” Canadian composer R. Murray Schafer makes a valid point. [1] The topic of sound is practically non-existent in modern architectural discourse. Why? We, as architects, think in terms of form and space; we balance scientific understanding and artistic vision. The problem is, we have a tendency to give ample thought to objects rather than processes and systems. Essentially, our field is ocular-centric by nature. So how do we start to “see” sound? And more importantly, how do we use it to promote health, safety and well-being?

The syn chron space by Carsten Nicolai. Image Courtesy of artcentron.com The syn chron space by Carsten Nicolai. Image Courtesy of artcentron.com The Butaro Hospital by MASS Design Group. Image © Iwan Baan Sound Tube 1971. Image © Atelier Leitner +5

TED Talk: Why Architects Need to Use their Ears / Julian Treasure

19:00 - 28 September, 2012

In architecture we talk about space and form.  We talk about experience and meaning.  All of these qualities are inextricably the sensory experience of light, touch, smell and sound.  Sound expert Julian Treasure asks architects to consider designing for our ears, citing that the quality of the acoustics of a space affect us physiologically, socially, psychologically and behaviorally.

More after the break.

Sum of Days at The MoMA / Carlito Carvalhosa

19:00 - 24 October, 2011
Photograph by Jeffrey Gray Brandsted / © Carlito Carvalhosa
Photograph by Jeffrey Gray Brandsted / © Carlito Carvalhosa

The space of sound created by Carlito Carvalhosa’s Sum of Days on exhibit at MoMA until November 14, 2011 is a sublime environment of billowing white fabric and the white noise of the atrium reflected upon itself. The psuedo-boundaries established by the translucent material that hang from the ceiling create a confined space of light and ambient sound – fleeting and ephemeral. Upon entering the exhibit, you pass an array of speakers affixed to the wall. They are emitting a low hum – the sound of voices and echoes that are distant, yet recognizable. It is unclear at first from where these sounds are originating, but behind the fabric bodies are drifting in and out of view. The curtains, which are constantly swaying, direct you in an ellipse to the center of the space where a single microphone hangs, picking up the noise within the exhibit and sending them to the dozens of speakers that hang at intervals inside the curtains, along the walls of the exhibit, and up through the galleries at the mezzanine levels that overlook the atrium.