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French

ID: <

10670/1.zwfzio

>

Where these data come from
The use of the sound recording in architecture.

Abstract

national audience since centuries, the architect has become accustomed to working with drawings. He consults maps, takes photographs, crosses ideas that he formalises on paper. Nowadays, films and audiovisual material of all kinds show that the atmosphere of a place is very well suggested by sound extracts; the sound stripe is a direct way of touching, creating material and passing emotions from a living situation. Listening to a sound fragment is, at first sight, an effective way of gaining insight into the site, the activities that take place in time and space. But we do not mislead them; these noise fragments do not adhere to reality as perceived in situ. It is a representation that expresses the intentions of those who wrote it. While access to deferred listening is now a common practice, the act of recording and producing sound tapes, although accessible to all, is not yet a habit. It is still aimed at audio professionals. In architecture, the introduction of audio documents came with knowledge specific to two environments: on the one hand, acoustic technicians handling acoustic environment simulations produced by software such as room acoustic armen; on the other hand, artists, composers who, when invited to the architects’ table, introduce their preferred tools and transform sound material into sensitive and malleable material. The research world has also made it possible to develop practices both in terms of analysing project sites through the systematic collection of sound samples of landscapes, for example, cartophony, and in terms of understanding environments (for example, the collection of inhabiting words. In the light of these findings, the introduction of the sound stripe in the workshop is a sign of a change in ways of designing in an architectural world which seeks ways to distinguish itself from all the experts invited to the project. A world in which technical knowledge (e.g. acoustic knowledge) is no longer sufficient to capture sensitive data from the existing environment, to provide a transformable sensitive material with which to project. The point of the article is to explore the various forms of sound documents associated with the expression of the atmosphere in urban and architectural project practices. On the one hand, the aim will be to outline a first overview of the nature and status of the sound documents available in the architectural libraries. Secondly, to describe the use of BS in listening pedagogy for architectural students. Experience in producing a “sound postcard” will be reported. How to capture the atmosphere of a location and analyse its components by writing a sound fragment. Finally, further study of the use of the sound strip during the design phase. The nature and potential of the sound stripes are sketched out from a corpus of projects from the ‘Nicephore ears’ call for ideas, where teams were asked to produce an architectural sketch in both design and sound form.

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