UN-BUILT SENSORIAL MAPPING:
Today, a concern of sensorial experiences has permeated various fields, from sensory marketing--purveying the experience economy--to the practice of multi-sensory design and the crucial investigation of artists. Much of contemporary architecture shares this renewed interest in a sensorial environment that extends beyond the purely visual realm. Therefore, the conference paper and project topic is the creation or the re/creation and re/establishment of noise versus sound within the urban playground.
Using the early 1970's term: Soundscape, this installation/paper is an investigation and development of sound as medium that interconnects an intrinsic relation between sound and its location, galvanizing acoustics with the contemporary of the social realm, and the environmental tensions sound versus noise inherent between the producer versus consumer. Given that sound has inherited properties through confronting differentiated situations and complex barriers, the mapping of communication between these realms are difficult to surmount.
As Mirko Zardini, Director of the CCA--Canadian Centre for Architecture--has indicated and lectured, it is true that in the last 15 years the capacity and range of drawing has greatly expanded. Thanks to new software, many more possibilities are available in the conception and development of an architectural project. These "devices of design" have not only produced a different type or technique of conceptualizing the project but also addresses the construction of the building itself. In spite of these new possibilities, a large part of a project remains to be defined out of the drawing process. In the practices of architecture and urbanism, drawings are unable to define and convey the richness of sensorial experiences.
Mapping sound is forming a place where sound becomes as much a part of auditory experience, as the material of sound itself. Architectural form hence, is a product of "place-based" sound features within a spatial experience of opportunities to situate a listener with an intensification of immediate experience that expands beyond a point of focus to an environmental situation. This project is a discussion and negotiation where "mapping communication" is the mapping the sounds which cannot be built, but effected by the built. The aural geography and locational mapping becomes less a place-holder of spatial urbanistic viewpoints, but a broad theme of global listening points--thus, to listen to a sound, is to listen to the entire body of the sound world in microdetail (footnote).
LaBelle, Brandon "Background Noise: Perspectives on Sound Art"
Introduction to Part 5: Soundmarks: Environments and Aural Geography Pg: 197