To live in New York means to get habituated to the noise of everyday life here...As a neighborhood becomes more homogenous, and its residents sync their noise patterns, noise complaints tend to go down. This may explain why, controlling for other factors, gentrifying areas of the city display higher levels of noise complaints. City residents stop consciously recognizing noise as novel, and it becomes background, even if their bodies don’t always recognize it as such. — Nautilus
“We all love to hate the noise. And yet sitting in silence, I do not feel as if I’ve found an escape from pain: I have simply traded it for a new variety. Shockingly, I realize I want to trade back.”Writer Susie Neilson delves into the pros and cons of urban noise pollution, a truly defining...
Michael Kimmelman, architecture critic for the New York Times, joins me for our first One-to-One interview of 2016. I wanted to talk with Kimmelman specifically about a piece he had published just at the end of last year, called “Dear Architects: Sound Matters”. The piece considers how an...
The primary strategy for blocking airborne sound is to add a layer of dense, flexible material to the problem surface...Stopping vibration-borne noise is usually trickier and more expensive. It requires suspending walls, ceilings or floors so that the vibrations aren’t conducted to a building’s framing, which can transmit sound throughout a building...A compounding issue is that it takes only a very small gap to let in a lot of sound. — NYT
Roy Furchgoff surveys the noise-control industry, which at least anecdotally in New York is growing. Related and recently, architecture critic Michael Kimmelman and producers Alicia DeSantis, Jon Huang and Graham Roberts documented the sounds of some archetypal NYC spaces.
we rarely talk about how architecture sounds, aside from when a building or room is noisy. [...]
Sound may be invisible or only unconsciously perceived, but that doesn’t make it any less an architectural material than wood, glass, concrete, stone or light. [...]
Acoustics can act in deep, visceral ways, not unlike music ... And while it’s sometimes hard to pin down exactly how, there is often a correlation between the function of a place or an object and the sound we expect it to make. — nytimes.com
Architecture critic Michael Kimmelman and producers Alicia DeSantis, Jon Huang and Graham Roberts document the sounds of some archetypal city spaces, conveying the personality and subtle (or sometimes not) musicality of interiors.
Museum displays are typically meant to be seen and not touched, but a recent wave of exhibitions is upending those rules. Take DELQA, an interactive music and light installation opening in the New Museum's NEW INC space on August 6. Showcasing the music of Matthew Dear combined with Microsoft's Kinect technology, the project allows participants to touch, push and poke suspended mesh walls to manipulate a musical composition, creating their own unique experience of the space. — core77
If you're on the hunt for weekend plans in NYC, DELQA will be at the New Museum only from August 6-9!More on Archinect:How architecture helped music evolve - David Byrne Frank Gehry: Is Music Liquid Architecture?How an "egalitarian incubator" music venue hopes to revive Brooklyn's art...
Müllner demonstrates how much environment contributes to the quality of what we hear...As slick as an advertisement, the short video uses a heavily mediated form to convey the simple idea of natural reverberation...The ways in which sound and space interact can determine the shape of a musical form. — Open Culture
Karen Van Lengen, who created the installation with her husband, James Welty, says to really soak in a building, you need to listen to it.
'If you close your eyes, what you're going to hear are things that you can't hear with your eyes open,' says Van Lengen, an architecture professor at the University of Virginia. — npr.org
Immersed in a neon bubblegum pink shell, walking through the Situation Room gives viewers a fascinating perspective of the digital and physical environments. Designed by MARC FORNES / THEVERYMANY in collaboration with sound artist Jana Winderen, the installation was created by 20 spheres of various sizes fused by boolean operations. Storefront for Art and Architecture NYC commissioned the project for the WorldWide Storefront initiative launch. — bustler.net
Whether you're a diehard Miesian fan or could care less about the modernist architecture canon, we've heard of ol' Farnsworth time and time again since its completion in 1951 in Plano, Illinois. But Chicago-based artists Petra Bachmaier and Sean Gallero of Luftwerk want the public to see the...
“Instruments: Reimaging the Music Room” is a fascinating exhibition of student work from the Piet Zwart Institute’s Master Interior Architecture & Retail Design program, studying the role of sound in the domestic space. Each work creates a physical manifestation, or conduit, of the soundscapes that pervade our most private spaces, either raucously or imperceptibly. — bustler.net
In a world where we are increasingly given the chance to customise our output, how do you orchestrate a planet where a Gangnam ringtone collides with the sound of a 1970s camera shutter from a smartphone, in a tube station resonating with Vivaldi to deter loitering, while the guy next to you shout-announces to some remotely interested party that he is "About to get on the tube! I said The! Tube! ... "? What is the future sound of cities? — theguardian.com
Audiotopie was awarded $10,000 from the 2013 Phyllis Lambert Design Montreal Grant in Montreal, Canada earlier this week.
Established in 2007, the annual grant distinguishes young, emerging Montreal designers who have shown excellence in their work and research study that can contribute to the city of Montreal. — bustler.net
"The $10,000 grant will enable the Audiotopie team, which designs immersive sound works closely connected to physical spaces through creation of sensory experiences, to go on a study trip during which its members will compare sound environments in the underground spaces of three Asian cities."
"Our collaboration has been since 1989, and now it's long-term," Toyota says of Gehry. "With Frank, I learned many, many things."
Chief among them, he says: "Flexibility."
"His thinking is very free and without restrictions. His spirit and creative mind is [open]. And we were able to work together in this way," Toyota says.
During the construction of Disney Hall, Toyota, ... was inspired by Gehry's design and perfected what he sees as his personal style of acoustics. — latimes.com
It is, first and foremost, a visual and sound buffer placed between residents and the diesel trucks rumbling along the 103 Freeway to and from the Port of Long Beach.
But the wall, two fences stuffed with mulch generated from Long Beach tree trimmings, is also environmentally friendly; it will eventually be seeded with trees and shrubs that will leech vehicle exhaust from the air and transform the pollution into oxygen. — presstelegram.com
Creating a 3D map of a room could someday be as simple as randomly placing four microphones within the space, then snapping your fingers. Researchers from Switzerland’s EPFL (École Polytechnique Fédérale de Lausanne/Swiss Federal Institute of Technology) have recently done so on a limited scale, and are now excited about the technology’s possible applications. — gizmag.com
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