Sound – BLDGBLOG

Cetacean Surroundsound

I was thinking about this whale song bunker idea the other week after reading about the potential for whale song to be used as a form of deep-sea seismic sensing. That original project—with no actual connection to the following news story—proposed using a derelict submarine surveillance station on the coast of Scotland as a site for eavesdropping on the songs of whales.

[Image: An otherwise unrelated image of whales, courtesy Public Domain Review.]

In a paper published in Science last month, researchers found that “fin whale songs can also be used as a seismic source for determining crustal structure. Fin whale vocalizations can be as loud as large ships and occur at frequencies useful for traveling through the ocean floor. These properties allow fin whale songs to be used for mapping out the density of ocean crust, a vital part of exploring the seafloor.”

The team noticed not only that these whale songs could be picked up on deep-sea seismometers, but that “the song recordings also contain signals reflected and refracted from crustal interfaces beneath the stations.” It could be a comic book: marine geologists teaming up with animal familiars to map undiscovered faults through tectonic sound recordings of the sea.

There’s something incredibly beautiful about the prospect of fin whales swimming around together through the darkness of the sea, following geological structures, perhaps clued in to emerging tectonic features—giant, immersive ambient soundscapes—playfully enjoying the distorted reflections of each other’s songs as they echo back off buried mineral forms in the mud below.

I’m reminded of seemingly prescient lyrics from Coil’s song “The Sea Priestess”: “I was woken three times in the night / and asked to watch whales listen for earthquakes in the sea / I had never seen such a strange sight before.”

Someday, perhaps, long after the pandemic has passed, we’ll gather together in derelict bunkers on the ocean shore to tune into the sounds of whales mapping submerged faults, a cross-species geological survey in which songs serve as seismic media.

Acoustic Archaeology

In her new book, The Bird Way, Jennifer Ackerman describes Australian lyrebirds as audio archaeologists, birds capable of keeping lost songs and soundscapes alive across multiple generations even as local ecologies change.

She describes a group of lyrebirds captured in one part of Australia and later released in Tasmania. “The birds continued mimicking birdcalls from their old landscape for many years,” Ackerman writes. “Thirty years after they were released, their descendants were said to be imitating birds never present on the island, such as pilotbirds and whipbirds,” thus offering what Ackerman calls “compelling proof of cultural transmission, one generation passing on knowledge to the next.”

For Ana Dalziell, a lyrebird-expert Ackerman meets out in the field, this makes lyrebirds “archivists of soundscapes.”

[Image: Painting of a lyrebird by John Gould, courtesy archive.org.]

The idea that the acoustics of no-longer-existing landscapes are being passed down socially through generations of songbirds is incredible, as well as suggestive of a possible tool by which landscape historians could attempt the sonic reconstructing lost environments.

The sounds of old elevators or HVAC systems in a now-destroyed building—perhaps even a demolished work by a globally renowned architect, her building now known only through acoustic after-effects, its buzzes and whirs still passed tree to tree—still being imitated by local songbirds; or the sounds of wind passing through now-extinct trees, or trees lost to recent wildfires, still being reproduced by local songbirds; or the sounds of ground-dwelling predators who are not extinct, but have nevertheless moved on to other parts of Australia, still popping up as acoustic imitations: an audio archaeology based entirely in the communal surround-sound of social singers.

You want to hear the sounds of lost buildings or extinct landscapes, and merely need to head deep into the trees, listening to lyrebirds along the way.

(Thanks to Nicola Twilley for giving me The Bird Way!)

Structural Audio

[Image: Photographer unknown; spotted via Medium.]

A design constraint I would sometimes use while teaching was to throw in an unexpected change to the project brief: this cluster of buildings you’re designing is now sponsored by Netflix, REI, Philips, etc. The point would be to think about how this might affect the resulting project—its streets designed as an open-air prototype of smart-lighting techniques, say, or an office campus now featuring climbing walls, artificial rivers, or small-group cinema projection booths. (In turn, the purpose of this was simply to remain flexible as one pushes ahead on a particular assignment.)

The prospect that always seemed one of the most interesting to me, though, was a company such as Dolby Laboratories: an audio services firm who might sponsor or commission an entire building or suburb, a new community somewhere designed for how it sounds. Six new houses pop up down the street from you next year and they’re a cross-platform collaboration not in high-end embedded speakers and such like, but in actual structural audio, like Joel Sanders’s Mix House scaled up.

For example, recall Nate Berg’s piece on the design history of roadside noise barriers. Although there is an almost Coen Brothers-like comical subplot to Berg’s story—as industries throughout Los Angeles, from homebuilders to classical music performers to Hollywood film studios, confronted the deafening and ever-growing roar of all the damn freeways being constructed everywhere, like some urban-scale act of self-inflicted hearing impairment, people screaming on telephones, What?!, no one sleeping at night, a city gone insane—the primary takeaway is simply that overwhelming sound sources inspire structural changes elsewhere. You build a freeway, in other words, then someone will build that freeway’s acoustic opposite, a shield or dampener.

In any case, it was thus interesting to read about what the New York Times calls “a pair of giant noise-canceling headphones for your apartment” designed by researchers in Singapore.

The system uses a microphone outside the window to detect the repeating sound waves of the offending noise source, which is registered by a computer controller. That in turn deciphers the proper wave frequency needed to neutralize the sound, which is transmitted to the array of speakers on the inside of the window frame.

The speakers then emit the proper “anti” waves, which cancel out the incoming waves, and there you have it: near blissful silence.

If you read the full New York Times piece, it seems clear that the system currently has several drawbacks: it is visually ungainly, for example, it cannot counter human voices, and it still lets in a lot of sound.

Nevertheless, the idea of a new building, town, or entire city offering its residents sonic amenities beyond just Bang & Olufsen speakers or similar seems long overdue. For that matter, combine luxury frequency-reduction techniques with seismic wave-mitigation and perhaps you’ve just designed the future of architecture in global earthquake zones. At the very least, someone’s living room will sound better at night.

Body Sonic / Coronavirus Surroundsound

[Image: A shot of “Carl Craig: Party/After-Party” (2020), by Don Stahl, via Artforum.]

There’s a great moment in a recent article by Jace Clayton, who reviews an installation by DJ and musician Carl Craig for Artforum, where Clayton talks about music’s relationship to empty space.

There is something of “a sonic axiom,” Clayton writes: “Amplified music sounds terrible in empty rooms. The less stuff there is in any given space, the more sound waves will bounce around the walls and ceiling and glass, losing definition as they both interrupt and double themselves. The resulting audio is smeary, muffled, and diffuse. However, when the same space fills with bodies moving around, those waves are absorbed, dampening those irksome reflections and allowing us to hear the sound more powerfully and in far greater detail.”

The effect is such that “the only thing that could make [music] sound better is people.” Bodies make music better—a second sonic axiom, as well as an optimist’s call for more social listening. In other words, your music will sound better the more people you experience it with. Hang out with others. Be bodies. Share.

In any case, Clayton’s piece went online a couple weeks ago but I find myself thinking about it almost daily, as the acoustic effects of the coronavirus lockdown become clear in cities around the world.

“As the pandemic brought much of the crush of daily life to a halt,” the New York Times reported, “microphones listening to cities around the world have captured human-made environments suddenly stripped of human sounds.” To put this in Clayton’s terms, cities are now spaces without bodies.

Think, for example, of Francesca Marciano describing “the new silences of Rome” in an age of coronavirus, or the New York Times itself pointing out how, in Manhattan, “the usual chaos of sounds—car horns, idle chatter and the rumble of subways passing frequently below—[has] been replaced by the low hum of wind and birds. Sound levels there fell by about five decibels, enough to make daytime sound more like a quiet night.”

There is an interesting paradox at work here, though, in terms of a widely reported belief that birds appear to be singing louder than ever before: birds are actually quieting down now, as they have less competition to out-sing. As the NYT writes, this is “because they no longer have to sing louder to be heard over the racket of the city, a behavior, known as the Lombard effect, that has been observed in other animals, too.”

[Image: Gowanus, Brooklyn; photograph by Geoff Manaugh.]

I’ve written at length about sound and the city elsewhere, but one of my favorite pieces on this was a short profile of acoustic engineer Neill Woodger, then-head of Arup’s SoundLab, published in Dwell way back in June 2008.

There, Woodger made the point that, as we transition to electric vehicles, which will remove the sound of the internal combustion engine from our cities, we are being given a seemingly once-in-a-lifetime acoustic opportunity: to redesign urban space for sound, highlighting noises we might want to hear—birdsong, bells, distant train whistles—and helping to excise those we do not.

The coronavirus, it seems, has inadvertently set the stage for another such sonic opportunity. Our global urban lockdowns have all but stripped our cities of “bodies moving around,” in Clayton’s words, such that our streets now sound quite eerie, as if replaced by uncanny muted versions of themselves, or what Marciano calls “an atmosphere of peaceful suspension, as when it snows and everything is wrapped in cotton wool.”

Much has been made of how temporary design interventions in response to COVID-19—things like wider sidewalks, outdoor cafes, streets liberated from cars and opened up to children, families, and the elderly—might become permanent.

In this context, what permanent acoustic shifts might we hear coming from all this, as well?

(Consider picking up a copy of Jace Clayton’s book, Uproot: Travels in 21st-Century Music and Digital Culture.)

Every Reflection A Leak

[Image: “Two images of the same room, one reconstructed from video footage of a bag of chips within the room (top) and the other photographed directly (bottom),” as described by Scientific American. Images courtesy Jeong Joon Park.]

“Researchers have now found that by filming a brief video clip of a shiny item, they can use the light flashing off it to construct a rough picture of the room around it,” Scientific American reports. “The results are surprisingly accurate, whether the reflections come from a bowl, a cylinder or a crinkly bag of potato chips.”

It comes down to mathematically modeling “what a known object will look like—how light will reflect off it—when it is placed in new surroundings,” such that you can then reconstruct the proper orientation of what it reflects.

There’s a lot more in the original article, but what immediately struck me about this was how this technology could be used for crime or espionage, both.

You send an unsuspecting group of school kids into a target building, carrying highly reflective silver balloons, or you wear a slyly reflective and precisely designed item of clothing into a business meeting: in both cases, a photographer on a roof across the street or hidden in a park nearby snaps away through a telephoto lens. The reflections spilling off in all directions are like a 360º spherical photograph of the building interior—the art on the walls, the position of furniture. The location of a safe.

Think of the Japanese pop star who was tracked by a stalker after he deduced her location by analyzing the reflection in her eye in a selfie. Every mirrored surface becomes a security leak—“Las Meninas” as burglary tool.

[Image: “Las Meninas” (1656) by Diego Velázquez; if my reference to this painting makes absolutely no sense in the present context, it’s because I’m being pretentious and indirectly referring to Michel Foucault’s The Order of Things, where he discusses the painting’s use of internal reflection.]

Of course, you may also recall that sounds can be reconstructed from the vibrations of distant objects: “Researchers at MIT, Microsoft, and Adobe have developed an algorithm that can reconstruct an audio signal by analyzing minute vibrations of objects depicted in video. In one set of experiments, they were able to recover intelligible speech from the vibrations of a potato-chip bag photographed from 15 feet away through soundproof glass… In other experiments, they extracted useful audio signals from videos of aluminum foil, the surface of a glass of water, and even the leaves of a potted plant.”

It’s worth noting here how potato chip bags pop up in each example. Ocean’s 14 will open with a surreptitious potato chip delivery…

In any case, political dissidents, high-value corporate CEOs, and adversarial diplomatic attachés will never be safe again. Just a brief reflection from a cigarette lighter or a piece of silverware, just a tiny ripple of sound across the leaves of an exotic orchid in the center of a dinner table, and someone across the city with a telescope has your bank passcode, the location of your home safe, and a complete 3D map of your building interior, even down to where your security guards are sitting.

[This is only somewhat related, but recall that an engineer at Carnegie Mellon has developed “a long-range iris scanner that can identify someone as they glance at their rear-view mirror” in a moving vehicle, Rob Meyer reported for The Atlantic back in 2015.]

Tone Fields Larger Than Stars

[Image: From “Probing Cosmic-Ray Transport with Radio Synchrotron Harps in the Galactic Center,” by Timon Thomas, Christoph Pfrommer, and Torsten Enßlin.]

The above image, as described by Susanna Kohler over at AAS Nova, depicts an ultra-large-scale magnetic “harp” near the center of our galaxy, emitting radio waves. The black lines apparently “span several light-years.”

As Kohler writes, where the parenthetical comments are her own, “a team of scientists argues that this cosmic music is caused by a massive star or a pulsar (a magnetized neutron star) plunging through an ordered magnetic field in the galactic center. As the star crosses (moving upward, in the image above) bundles of field lines, it discharges high-energy cosmic rays that travel in either direction along the bundles, emitting radio waves.”

It’s a kind of cosmic the re min—an instrument where the “musician controls volume and pitch using her hands to interfere with electromagnetic fields generated by the device”—a huge and ancient instrument playing itself in space.

Auditory Hallucinations from Offworld Megafarms

Although I’m only slowly coming around to the music itself, it is hard not to be impressed by the level of narrative engineering that went into Luke Sanger’s 2019 album Onyx Pyramid.

The music, Sanger writes, is a kind of fictional soundtrack for a landscape of offworld megafarms, where a human skeleton crew has been reporting “auditory hallucinations” amplified by the effects of an artificial atmosphere. Audio scifi.

The combination of a worldwide shift to GM crops and rising global temperatures led to a series of global disasters, destroying many natural resources and causing a permanent environmental imbalance. Earth’s leaders make the choice to outsource all food production to off-world corporately owned farm planets, known as ‘flatlands’.

These giant artificial orbs contain vast crop fields and are operated robotically. A handful of human ‘farmers’ are required to oversee operations and perform maintenance tasks. Although the environmental conditions are engineered to mimic 21st century Earth, there is no wildlife. Farmers have been reporting strange experiences of auditory hallucinations, nicknamed ‘flatland frequencies’, these are most likely a byproduct of the chemically engineered atmosphere combined with extreme isolation.

You can buy or stream the full album over at Bandcamp.

Afghan Twin

[Image: Screen-grab from an interview between John Peel and Aphex Twin, filmed in Cornwall’s Gwennap Pit; spotted via Xenogothic].

An anecdote I often use while teaching design classes—but also something I first read so long ago, I might actually be making the whole thing up—comes from an old interview with Richard D. James, aka Aphex Twin. I’ve tried some very, very lazy Googling to find the original source, but, frankly, I like the version I remember so much that I’m not really concerned with verifying its details.

In any case, the story goes like this: in an interview with a music magazine, published I believe some time in the late-1990s, James claimed that he had been hired to remix a track by—if I remember correctly—The Afghan Whigs. Whether or not it was The Afghan Whigs, the point was that James reported being so unable to come up with new ideas for the band’s music that he simply sped their original song up to the length of a high-hat, then composed a new track of his own using that sound.

The upshot is that, if you were to slow down the resulting Aphex Twin track by several orders of magnitude, you would hear an Afghan Whigs song (or whatever) playing, in its entirety, every four or five minutes, bursting surreally out of the electronic blur before falling silent again, like a tide. Just cycling away, over and over again.

What’s amazing about this, at least for me, is in the possibilities it implies for everything from sonic camouflage—such as hiding acoustic information inside a mere beep in the overall background sound of a room—to art installations.

Imagine a scenario, for example, in which every little bleep and bloop in a song (or TV commercial or blockbuster film or ringtone) somewhere is actually an entire other song accelerated, or even what this could do outside the field of acoustics altogether. An entire film, for example, sped up to a brief flash of light: you film the flash, slow down the resulting footage, and you’ve got 2001 playing in a public space, in full, hours compressed into a microsecond. It’s like the exact opposite of Bryan Boyer’s Very Slow Movie Player, with very fast nano-cinemas hidden in plain sight.

The world of sampling litigation has been widely covered—in which predatory legal teams exhaustively listen to new musical releases, flagging unauthorized uses of sampled material—but, for this, it’s like you’d need time cops, temporal attorneys slowing things down dramatically out of some weird fear that their client’s music has been used as a high-hat sound…

Anyway, for context, think of the inaudible commands used to trigger Internet-of-Things devices: “The ultrasonic pitches are embedded into TV commercials or are played when a user encounters an ad displayed in a computer browser,” Ars Technica reported back in 2015. “While the sound can’t be heard by the human ear, nearby tablets and smartphones can detect it. When they do, browser cookies can now pair a single user to multiple devices and keep track of what TV commercials the person sees, how long the person watches the ads, and whether the person acts on the ads by doing a Web search or buying a product.”

Or, as the New York Times wrote in 2018, “researchers in China and the United States have begun demonstrating that they can send hidden commands that are undetectable to the human ear to Apple’s Siri, Amazon’s Alexa and Google’s Assistant. Inside university labs, the researchers have been able to secretly activate the artificial intelligence systems on smartphones and smart speakers, making them dial phone numbers or open websites. In the wrong hands, the technology could be used to unlock doors, wire money or buy stuff online—simply with music playing over the radio.”

Now imagine some malevolent Aphex Twin doing audio-engineering work for a London advertising firm—or for the intelligence services of an adversarial nation-state—embedding ultra-fast sonic triggers in the audio environment. Only, here, it would actually be some weird dystopia in which the Internet of Things is secretly run by ubiquitous Afghan Whigs songs being played at 3,600-times their intended speed.

[Don’t miss Marc Weidenbaum’s book on Aphex Twin’s Selected Ambient Works Vol. 2.]

Black Foundations

[Images: Via Borderland Sciences].

“The Sonic Doom of Vladimir Gavreau” by Gerry Vassilatos is a great example of speculative nonfiction—or, more specifically, of music history as conspiracy theory, where acoustic engineering gradually morphs into something closer to pseudo-science and occult mythology.

It goes all over the place, from the work of Oliver Messiaen to the physical threat of infrasound, and from the alleged Cold War weaponization of acoustics to the malignant “resonant profiles” of the buildings we work within today.

The anecdotes alone—whether or not you take them at their word—are amazing: “Walt Disney and his artists were once made seriously ill when a sound effect, intended for a short cartoon scene, was slowed down several times on a tape machine and amplified through a theater sound system. The original sound source was a soldering iron, whose buzzing 60 cycle tone was lowered five times to 12 cycles. This tone produced a lingering nausea in the crew which lasted for days.”

For anyone who’s read about the controversial “sonic attack” on U.S. ambassadorial staff in Cuba, or for fans of the book How to Wreck a Nice Beach, it’s probably a must-read.

While you’re there, if you’ve got time to kill, check out Vassilatos’s essay on “nocturnal auditory disturbances,” otherwise known as mysterious humming sounds with no discernible origin.

(Spotted via @robertcurgenven.)

As if all contemporary buildings have tinnitus: An Interview with Sabine von Fischer

[Image: “A tapping machine used in tests to evaluate the ability of floor coverings to reduce the transmission of impact sound from one floor to another in multi-family dwellings. Courtesy of the National Research Council Canada/Conseil national de recherches Canada,” via CCA].

[Nearly a decade ago, I wrote a series of blog posts as part of a Fellowship at the Canadian Centre for Architecture. Those posts appear to be falling into an internet memory hole, so I thought I’d reproduce lightly edited versions of some of them here, simply for posterity.]

Sabine von Fischer is an architectural historian with a specific interest in acoustics. Both Von Fischer and I were Fellows at the Canadian Centre for Architecture in the summer of 2010, where she was “researching the relationship between architecture and sound for a Ph.D.”

I was fascinated by the work she presented one afternoon during a lecture, and, later that week, I caught up with Von Fischer for a brief Q&A about her work. The following interview was originally published in 2010.

* * *

BLDGBLOG: In the most general terms, what is the topic of your dissertation?

Sabine von Fischer: The Ph.D. will be a history of 20th century architecture, with sound being the filter through which I want to look at different spatial configurations, building technologies, and the mutual effect of technologies and architecture on each other. The period that I am looking at is 1930-1970; this was a period when drastic changes in acoustic technology happened that continue to impact our environment today.

BLDGBLOG: Why do you begin in 1930?

Von Fischer: 1930 was the first publication of the tapping machine—that’s my case study for building acoustics. The 1970 date is maybe a little more vague—it’s a nice even number! But if I find other events, I might change it to 1971. [laughs]

BLDGBLOG: What was the tapping machine [seen in the image above]?

Von Fischer: The tapping machine, as it was first published in 1930 and as it was standardized in the 1960s, has five steel rods that hammer against the floor. The speed has changed a bit over time—and its speed is now standardized—but it just tramples on the floor. It’s a very basic machine.

The principle of the machine can be found in older apparatuses, such as those used in grinding food items, but this particular application was to simulate the sound of footsteps, furniture, and machines on the floors of multi-story buildings. In this form—with five hammers, which are electrically operated—it was first published in 1930, in the Journal of the Acoustical Society of America.

Everyone who has been working on building acoustics claims that, since 1923 or 1926, they’ve been doing similar tests on structure-borne sound, but almost all of those earlier tests were done with women in high-heeled shoes. High- heeled shoes make a very distinct sound. For impact-sound measurements, these women—and I have never seen a photo with a man or a documentation of a test done with a man—would wear high-heeled shoes, making a very standard noise.

Obviously, there have been comparative tests with men wearing different-soled shoes, evaluating the different ways of walking—or people who are very heavy, who produce different frequencies in the floor—but the National Bureau of Standards, in the period between the wars, had ladies in high-heeled shoes walking around inside buildings.

BLDGBLOG: Did the tapping machine put those women out of work, or was it used in parallel?

Von Fischer: I think they were replaced by the machine—but, then, people came back in over the last decades, mostly for measuring sound inside the same spaces. Because, once there is sound insulation in the floor, there’s a new problem: sound gets thrown back into the room. It’s not transmitted into the lower floors; it wanders around the same room. Especially with laminated flooring, there can be a strange sound when people are walking inside their own spaces. To test that, it’s done with people; the tapping machine wouldn’t simulate it well enough.

BLDGBLOG: I’m reminded of Nightingale floors in Japan: deliberately squeaky floors installed as a security measure against ninjas and assassins. The idea was to make the floor as acoustically noticeable as possible, rather than to mitigate its sonic properties.

Von Fischer: In Indian culture, as well, there’s a related example, where often the lady of the house would have a ring on her toes so that the other people in the house would know when she’s approaching. Different cultures have different traditions of using sound to mark someone’s presence in a building.

BLDGBLOG: Going back to your Ph.D. research, can you explain your idea of the “clairaudient building”?

Von Fischer: The “clairaudient building” is a metaphor, because normally you would say that a person is clairaudient.

BLDGBLOG: It’s like clairvoyant—clairaudient is a kind of supernatural “all-hearing”?

Von Fischer: Yes, I am using “clairaudience” to refer to early and post-war modern building systems, which transmitted sounds much more than any traditional way of building, creating problems that were unheard of before. Then, the word clairaudience, to me, also spans all of the technological machines and apparatuses that are used to broadcast sound inside architecture—speakers, microphones, intercoms, all the way up to surveillance systems and equipment. So buildings became clairaudient through technology.

BLDGBLOG: In that sense, a clairaudient building would be a space of total acoustic transparency?

Von Fischer: Yes, and I also think acoustic transparency is a quality of ambience—what became known as the “atmosphere” of a space. Very often, for example, you can observe that once rooms are silenced, other sounds are introduced artificially because, in the end, total silence doesn’t feel comfortable.

BLDGBLOG: That’s interesting—as someone who has very bad tinnitus, I need to have some kind of noise playing at night or I can’t go to sleep. So my wife—I hope!—has gotten used to the fact that we have to have fans on, even in the middle of winter, and sometimes more than one. But what’s interesting about tinnitus is that a silent room is not necessarily socially uncomfortable—in the sense that you need to think of something to say to the people around you—but, speaking only for myself, it can be acoustically uncomfortable. I can actually feel dizzy sometimes when it’s totally silent due to all the ringing in my ears.

Von Fischer: I would say that the term tinnitus can also be applied to buildings and to cities in general. I think sounds in cities and buildings have moved from being distinct signals, or individual sounds, to a constant background. There is often not one loud noise, but a mélange or a multiplicity of dampened—yet still audible—machines.

This will sound too harsh, but it’s as if all contemporary buildings have tinnitus. That’s an image I want to work on—a pathological metaphor for the state of sound in architecture.

[Image: Sulzer air-conditioning ad, ca. 1958, courtesy Sabine von Fischer/CCA].

BLDGBLOG: In your presentation you showed a photo of a man sitting at a desk, smoking a cigarette, listening to the sound of his air conditioner.

Von Fischer: Well, this is from 1958, a man being bothered by his air conditioner! The ad suggests that he should buy a new model because it’s more silent.

I’m fascinated by that image, because it visualizes the constant quest for new technologies that we need simply to make up for the downsides of the previous new technology. For instance, once rooms were air-conditioned, there was the sound of the air conditioner that we had to make up for; and, I assume, this new air conditioner in 1958 was not as silent as we are used to now—and, even today, air conditioners are not silent at all.

BLDGBLOG: The example of air conditioner noise points to an interesting line between the equipment of everyday domesticity—refrigerators, ceiling fans, air conditioning units, even tea kettles—and what could be called proto-musical instruments. They are things that you can tune to make the world quieter or more melodious.

Von Fischer: That’s definitely something I am interested in, although I think that this specific kind of sound design is something that only came after 1970.

It’s all a question of attitudes or personal taste, so tuning everyday objects can be a quite difficult enterprise. There will never be a consensus on what a good sound is. That’s why the noise regulations in cities are so rigid, because there are so many different reactions and compromises in order to avoid being a nuisance to someone.

Different sounds can also mean different things. Lawnmowers are always loud because, if a lawnmower was very quiet, maybe people wouldn’t buy it for fear that a quiet lawnmower isn’t strong enough. And men’s shavers are much louder than ladies’ shavers, even though they do the same thing. There are a bunch of products around us that are already heavily sound-designed.

BLDGBLOG: Even police sirens are being redesigned. In New York City, for instance, a new siren called the “Rumbler” was introduced last autumn that uses subwoofers and heavy bass to cut through urban noise (and through the music you might be listening to in your car). It’s like sonic warfare—noise v. noise.

Von Fischer: There was also a project by Max Neuhaus, from the 1970s, where he designed new sirens for emergency vehicles in New York City. His contention was that drivers and pedestrians in the city could not locate where the existing siren sounds were coming from. You would hear a siren somewhere but not know where it was. So he designed a better sound that, he claimed, you could hear which direction it was coming from. He invested a lot in the project, and I think he was quite frustrated when it never made it into the actual system.

BLDGBLOG: Finally, when it comes to specific resources here at the CCA, are you here more for the research & writing time, or is there a specific object or text in the archives that you came to see?

Von Fischer: It’s primarily to have the freedom to really think and focus, but there are things that I want to look at. The archive here is very strong in post-war visionary projects, and I’m looking at their ideas of utopia and the role of technology in buildings and interiors. I’m interested in the audio component of the social utopias of the 1960s—to see what role sound played in projects of this period. One famous example would be François Dallegret’s illustrations for Reyner Banham’s text “A Home is not a House” from 1965.

Hospital Interiors / Dolby Suburbs

[Image: “Mix House” by Joel Sanders Architect, Karen Van Lengen/KVL, and Ben Rubin/Ear Studio].

Between cross-country moves, book projects, wild changes in the online media landscape over the past few years, and needless self-competition through social media, my laptop has accumulated hundreds and hundreds, arguably thousands, of bookmarks for things I wanted to write about and never did. Going back through them all feels like staring into a gravesite at the end of a life I didn’t realize was mortal.

For example, the fact that the scent of one of Saturn’s moons was created in a NASA lab in Maryland—speculative offworld perfumery—and that, who knows, it could even someday be trademarked. Or that mountain-front suburban homes in Colorado were unwittingly constructed over mines designed to collapse—and that of the mines have already begun to do so, taking surface roads along with them. Or the sand mines of central Wisconsin. Or the rise of robot-plant hybrids. Or the British home built around a preserved railway carriage “because bizarre planning regulations meant the train could not be moved”—a vehicle frozen into place through architecture.

In any case, another link I wanted to write about many eons ago explained that legendary producer and ambient musician Brian Eno had been hired to design new acoustics for London’s Chelsea and Westminster hospital, part of an overall rethinking of their patient-wellness plan. Healing through sound. “The aim,” the Evening Standard explained, “is to replicate techniques in use in the hospital’s paediatric burns unit, where ‘distraction therapy’ such as projecting moving images on to walls can avoid the need to administer drugs such as morphine.”

This is already interesting—if perhaps also a bit alarming, in that staring at images projected onto blank walls can apparently have the same effect as taking morphine. Or perhaps that’s beautiful, a chemical testament to the mind-altering potential of art amplified by modern electrical technology.

Either way, Eno was brought on board to “refine” the hospital’s acoustics, much as one would do for the interior of a luxury vehicle, and even to “provide soothing music” for the building’s patients, i.e. to write a soundtrack for architecture.

We are already in an era where the interiors of luxury cars are designed with the help of high-end acoustic consultants, where luxury apartments are built using products such as “acoustic plaster,” and where critical governmental facilities are constructed with acoustic security in mind—a silence impenetrable to eavesdroppers—but I remain convinced that middle-budget home developers all over the world are sleeping on an opportunity for distinguishing themselves. That is, why not bring Brian Eno in to design soothing acoustics for an entire village or residential tower?

Imagine a whole new neighborhood in Los Angeles designed in partnership with Dolby Laboratories or Bang & Olufsen, down to the use of acoustic-deflection walls and carefully chosen, sound-absorbing plants, or an apartment complex near London’s Royal Academy of Music with interiors acoustically shaped by Charcoalblue. SilentHomes™ constructed near freeways in New York City—or, for that matter, in the middle of nowhere, for sonically sensitive clients. Demonstration suburbs for unusual acoustic phenomena—like Joel Sanders et al.’s “Mix House” scaled up to suit modern real-estate marketers.

At the very least, consider it a design challenge. It’s 2020. KB Home has teamed up with Dolby Labs to construct a new housing complex covering three city blocks near a freeway in Los Angeles. What does it look—and, more to the point, what does it sound—like?