Playtime: exploring the sonic materiality of urban atmosphere through playful object design
Observation Handbook
A Master by Research Project Jeniece Cheung
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Book 2: Observation Handbook
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Contents Field Observations Observation Method Method and Processes University Lawn Indicative Plan Sound Mapping Summary New Academic Street Indicative Plan Sound Mapping Summary Building 10 Rooftop Indicative Plan Sound Mapping Summary Sunken Garden Indicative Plan Sound Mapping Potential for Intervention Reflection
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Field Observations I employed field observations as a primary research method. It was initially used to help in locating potential sites for intervention but more importantly to help direct the approach to such an intervention. This observation booklet records the processes which were conducted, and the findings of and reflections on them. It is not intended as a guidebook, however, it could be expanded upon and used by others in the field for future public-based research.
Book 2: Observation Handbook
The spaces that I investigated are all within RMIT City Campus, which includes the University Lawn, New Academic Street, Sunken Garden, and Building 10 (Casey Building) Rooftop (location shown on the map in figure 2.1). These spaces are chosen based on their differences in size, accessibility, architecture, and shelter. By working in the city campus, I was able to observe and work with real urban environments, but without the added complexities of working in truly public places. Each of the spaces I observed represents a different typology of investigation. Through repetitive observation under different conditions, this activity revealed patterns, which through reflection and analysis, pointed to a site and time that can benefit from a sounding intervention.
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Figure 2.1 (Map of observation locations)
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Observation Method As discussed in Book One, the methods I used reference urban design studies by leading practitioners such as Jan Gehl1 2 and William H. Whyte3, both of whom used observation as the most direct way of discovering what people want and need in urban environments.
The notion of atmosphere was another key aspect of my observations. As my observations progressed, it revealed that soundscape, objects, spatial qualities, and user behaviours all contribute to the overall atmosphere of the site. It helped me relate and analyse these physical observations to the perceptual feelings that I experienced.
Book 2: Observation Handbook
In addition to the observation methods from an urban design perspective, I have also referred to Peter Cusack’s Berlin Sonic Places to establish the relationship between soundscape and the physical environment4. Some of the observations below analyse how materiality and space can shape the soundscape of a site, and how the soundscape further influences personal experience of the site. It helped me comprehend why, when all of these sites are all within one city block and share many of the same external factors, certain spaces sound serene, while others sound extremely harsh.
1 Gehl, J. (1977). The Interfaces between Public and Private Territories in Residential Areas. Department of Architecture and Building, Melbourne University, Parkville. 2
Gehl, J. (2011). Life Between Buildings: Using Public Space. Island Press.
Whyte, W. H. (1980). The Social Life of Small Urban Spaces [Film]. Municipal Art Society of New York.
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Cusack, P. (2017). Berlin Sonic Places – A Brief Guide. Wolke Verlag.
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Method and Processes
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For each chosen space, I recorded two sets of observations under different weather conditions and workdays. I initially only conducted one observation during the holidays on a sunny day. The lack of students prompted me to come back the second time during business hours and under different weather conditions. The different conditions attract people to or repel people from the spaces for different purposes and intentions. In retrospect, I think the process could benefit from more observations across more varieties of conditions. However, due to COVID restrictions that came into effect during this phase of the research, I was not able to conduct more than two. With no other choice, I had to accept these two rounds of observations to be adequate for the purposes of this study. For each observation, data and notes were taken and sorted into four categories: space, soundscape, behaviour and experience. The observations were recorded in the present tense, to reflect my direct thoughts during the process. Space outlines the physical, objective features of the space. Including the amount and character of seating, the use of the space, whether it is fully or partially sheltered and other notable findings. Soundscape outlines the sound audible, or not audible, in this space. It points out which are the most obvious sounds, and the contrast between man-made and natural sounds. Behaviour is an observation of human usage of the space. Where people walk, where they choose to stay, and what they choose to do there. Experience outlines my subjective perceptions and feelings in each space based on the other three categories. This category was completely based on my own understanding of the site and cannot represent the user’s feelings, however, perceptual sensory experience is essential for uncovering atmospheric qualities of a space5.
Bohme, G., & Thibaud, J.-P. (2017). The aesthetics of atmospheres . Routledge, Taylor & Francis Group. https://doi.org/10.4324/9781315538181
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In addition to the observation notes, I also included spatial mapping and sound mappings of each space: Spatial mapping is an indicative plan of the area of investigation. This particular method is borrowed from Jan Gehl’s studies. A plan can record the accurate architectural and spatial features of a site, with markers to represent different occurrences, thus revealing the spatial influence on these occurrences. The spatial mappings in this handbook record the position of furniture, materials, and sounds (mainly loud, consistent sounds).
At the end of each observation, I also concluded the findings by analysing the potential for intervention. This section summarises all the objective and subjective observations, and proposes a sounding intervention from which the specific site can benefit.
Book 2: Observation Handbook
Sound mapping is shown with a comparison between a spectrogram, which is a sonic visualisation of space generated from a field recording, and a graphical notation, which is my perceptual response to the space. This gives an understanding of the actual soundscape of the space compared to the sounds that people often choose to hear or ignore.
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01 University Lawn
Figure 2.2 (University Lawn, Peter Elliott Architects. Photo: John Gollings, 2010)
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Sunday, February 23rd | Sunny | 20°C a. Space There is plenty of seating here - three long benches and about 30 chairs. The chairs can be moved around to any location to people’s liking. The planting provides shade - an important amenity for the outdoors. There is no shelter here, which means the site is exposed to any weather conditions and is thus rarely used when it rains. b. Soundscape
c. Behaviours People tend to come here to have lunch and do work, as this space has a good balance of open space and planted areas. Areas under shade are always preferenced over areas exposed to the sun. People engage in conversations and phone calls, not afraid of making sounds in this space.
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A space with a constant amount of static, background sound. A combination of 3 air ventilation shafts and a water stream renders this a seemingly peaceful space, but it is hard to talk over the background sound. Yet, chattering is still a major part of the soundscape here. Planting also invites natural sounds - bird calls and susurration (leaves rustling). These sounds are a lot less predictable than the constant manmade sound. They have an element of surprise.
d. Experience The place feels inviting and casual. Based on other people’s behaviour, I feel comfortable having a conversation with friends here, and there is no pressure to be silent. Everyone has their own little ‘bubble’ here. It feels easy to join the space while also keeping some level of privacy.
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Monday, March 2nd | Partly Cloudy | 15°C a. Space Compared to a sunny, non-business day, a partly cloudy day has made this space a lot less popular. However, the adjacent basketball court is fully in use. b. Soundscape The sound of movement and ball bouncing adds a sense of youthful energy and entertainment to the space. The water and air ventilation sounds are still present, both of which are more noticeable today without people chattering. c. Behaviours
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There are people walking around this area, but not spending time using it. The cafe next door is also in business today, providing a more sheltered choice for people who want to sit down and do work.
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d. Experience These distinctive background sounds highlight the feelings of being secluded. This place feels like a retreat to escape the chaos of the city. I feel more inclined to drink my coffee here rather than the seats provided at the cafe. I don’t have to worry about someone overhearing my conversation or watching over my shoulders while I work, everyone is more apart in their own personal space.
Indicative Plan
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Figure 2.3 (Indicative map of University Lawn)
There is an abundance of seating options in this space - both mobile and stationary. The lawn is also free for lying and relaxing. There are three air ventilation shafts creating humming sounds around the southern part of the lawn. Because of this, the sound of the water fountain is only audible near the north-eastern corner of the lawn. The platform can be easily accessed via both steps and a ramp. Trees are planted around the lawn to provide shade.
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Sound Mapping
Figure 2.4 (Sound mappings of University Lawn)
While the perceptual mapping can clearly identify different elements in this space, the measured spectrogram is mostly overwhelmed by the loud hum in the space. Similar to the perceptual notation, the hum is positioned mostly in the lower frequency with the most intensity. The mapping shows the loudness of the background hum of the space and the details of social and natural interaction are more present with the help of my visual clues (orange rectangles).
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Summary The experience suggests that the University Lawn is free for conversation, and there is no pressure to be silent or quiet. Yet, the size and open space allow people to not be easily disturbed by other conversations. It is optimal for single-person or small group activities such as group meetings, working, or simply relaxing in the sun. A possibility for intervention would be to provide a point of interest within the space. Perhaps a sculpture, or sound installation for people to focus on while they relax or come to explore. It could be placed in the southeastern corner, also providing some dampening effect over the air ventilation sounds from the adjacent buildings.
Book 2: Observation Handbook
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02 New Academic Street (NAS)
Figure 2.5 (New Academic Street, Lyons Architecture, 2017)
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Sunday, February 23rd | Sunny | 20°C a. Space
b. Soundscape This is a space heavily drowned in man-made drones. With RMIT’s most major academic building’s air ventilation on one side, and Melbourne’s Metro Tunnel project drilling away on the other side, the sheer volume of these sounds diminishes all minor details. With an overcast loud hum, you can hear only traces of bird calls and footsteps. Every once in a while wind picks up along the street and brings a wave of rustling leaves.
Book 2: Observation Handbook
There are plenty of seating options here - chairs around tables, high chairs, and bench seats. The set-up is most likely designed for people to eat food that they’ve bought from surrounding stores, but people working and socialising is also a common sight here. There are a few spots under cover, providing limited shelter from rain and sun. The planting is limited to the middle section of the space, the odd placement of trees provides some shade and softness. The whole space acts as a wind tunnel. The breeze is often stronger here than in other places, making it an unpleasant place to be in cooler weather - but at least people can quickly find shelter in adjacent buildings. As the name suggests, this space is a street, which means it is a transitional space. People often pass through this space and do not stay there for more than 30 seconds.
c. Behaviours These notes are taken on a holiday, therefore there are not many signs of usage. This observation will need to be repeated on a busier day, where students are present and using it to its full potential. The next observation will describe how this space is used, and some common behaviours. d. Experience There are several catering services along the street that blast music on a normal day. However the circumstances today only leave a deserted feeling. Most seats are vacant, which makes me feel somewhat lonely to be out here with only a few others.
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Monday, March 2nd | Partly Cloudy | 15°C a. Space The New Academic Street during business hours is full of life. Being both a transitional space and a social space, people are utilising this area substantially. First of all, the stores are open, attracting customers and curious window shoppers. Having the stores located on the outside of the buildings encourages movement between the inside and outside of the building.
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b. Soundscape This changes the soundscape compared to non-business hours. In the midst of all the construction noise, you can hear indistinct conversations from all directions, in all different languages. The pauses in between conversations form an interesting rhythm. The conversations are not clearly audible, as they are masked by the reverberation and amplification caused by the brittle materials used in the space. There are also more footsteps; people walking at different paces and in different shoes suggest their purpose and mood at that time. For instance, you can feel an urgency in a hasty footstep; or a sense of importance in the sound of high heels. There are two pianos located next to the two building entrances and they are played quite often. They add a melodic, man-made layer of sound to the soundscape, creating a playful and entertaining atmosphere in the space. Bird calls are still audible along with people’s chattering, adding slight signs of nature in the heart of the campus. c. Behaviours Almost all the yellow benches are occupied outside - ranging from one person to a group of 6. Some of these bench activities include having a small conversation, working, and eating lunch. A lot of people are coming in and out of building 80, some are in a rush, some are taking their time. A few people also used the piano provided, providing us with some tunes and a sense of harmony. d. Experience It certainly feels less lonely today compared to my last observation as there are more people using the space, and that gives me a sense of belonging. The site feels lively today, I believe this mostly comes from the man-made sound such as piano melody, chattering and the sound of footsteps. 40
Indicative Plan
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Figure 2.6 (Indicative map of New Academic Street)
Being called a ‘street’, the space is mostly linear. The placement of objects is all in linear patterns, making it optimal for people to move through. All activities and amenities take place in sheltered bays, outside of the street itself. Having the piano and catering services in the space allows it to become a place of gathering and entertainment. Industrial hum has a strong presence in the space due to its tunnel-like spatial geometry. The noise sources (vents) are placed both on the east and west end.
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Sound Mapping
Figure 2.7 (Sound mappings of New Academic Street)
Similar to the previous sound mapping at University Lawn, the spectrogram at NAS also shows a dominance from a low-frequency hum. The hum appears to be more intense, which is reflected by the perceptual map. There are multiple ventilation shafts in this area, with one of them being a more powerful sound coming from the metro tunnel construction site. The sound of human conversation and other details are almost invisible in the spectrogram. The perceptual map shows that wind is also the main element that drowns out other sounds.
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Summary
Book 2: Observation Handbook
The observations show both scenarios of when the space is not in use, and when it is used as intended. Despite the loud construction sound nearby, people still gladly come here to gather, have lunch, and play. It is a huge space to fill with sound, but all the little infill sounds can suggest that this is a vibrant public space with a lot of potential. The transitional quality of a street also benefits from a lot of passersby. The high foot traffic provides a point of interest for anyone who likes to observe daily lives. On a busier day such as with my second observation, I believe the site has a variety of events and sounds happening that an additional intervention would risk obscuring or be obscured. However, on a quieter day, there is potential for an intervention that is triggered by weather or human interaction. This can provide an autonomous quality to the otherwise deserted site, allowing the site to always keep a little bit of liveliness even when no one is watching.
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03 Building 10 Rooftop
Figure 2.8 (Building 10 Rooftop, Taylor Cullity Lethlean. Photo: Shannon McGrath, 2018)
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Sunday, February 23rd | Sunny | 20°C I originally planned to observe the rooftop of Swanston Academic Building (SAB), as it sits directly above Swanston Street, and has a more diverse soundscape than the other three sites. However, due to limited usage of SAB rooftop (venue bookings only), the research area was moved to building 10 (Casey Building) rooftop, which is only a few levels above New Academic Street. Though the soundscape may be similar, I was able to obtain a more controlled comparison of the same soundscape at different height levels.
a. Space
b. Soundscape Air conditioning sound becomes dominant, overpowering everything else. Birds and insects are not attracted by the small amount of planting in this space, which makes the space lacking in wildlife calls. c. Behaviours
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Similar to NAS, the rooftop is surrounded by academic buildings on three sides, leaving only one side facing Bowen Street from above. There are many plants, such as bushes or small trees. There is a mix of different seating - including chairs with tables, benches, and steps. This space has no shelter from rain and harsh sunlight, limiting the amount of time people can spend there.
These notes are taken on a holiday, no people are present in the space. The circumstance allows me to render an accurate profile of the space, without any human factors. This observation will need to be repeated on a busier day, where students are present and using it to its full potential. More notes will be taken in regards to how this space is used and what some of the common behaviours are. d. Experience The first impression when I enter the site is of openness compared to the interior. The sound of ventilation and from surrounding construction sites makes the site feel harsh. Similar to my experience on the same day at NAS, I also feel a little lonely due to the lack of other people. Perhaps due to the higher elevation of the site, the wind on the rooftop makes me feel cold, which consequently makes the site feel more isolating compared to NAS. 45
Monday, March 2nd | Partly Cloudy | 15°C a. Space Similar to the last observation, the rooftop is comparatively unused by both people and wildlife. There are some students sitting here to work and eat lunch, but this does not make any remarkable difference to the spatial quality. b. Soundscape
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The soundscape is not too different from when it was completely free from human interactions. With a few additional chattering and keyboard clicking sounds, the space offers a secluded atmosphere. People are free to come in and know that they will be undisturbed. Compared to NAS, the human activities are less audible here as they are heavily masked by the sounds of the air conditioning. However, with that being the case, the rooftop feels more peaceful than a space full of passersby and chattering. c. Behaviours Even during business hours, this space is mostly quiet and peaceful. People are doing work here, and occasional group discussion can be heard. As this space does not lead between main building areas, although it is a transitional space, it is not heavily utilised. One interesting point of interest is seeing people exiting the building, and coming into the outdoor rooftop to take phone calls. This suggests that the drone on the rooftop is not too loud, and it is the right amount of noise to provide privacy for people to talk under. d. Experience Compared to the serious and quiet atmosphere of the interior study space, the rooftop makes me feel free and relieved. I no longer have to move quietly or worry about disturbing others. Though there are still not many people using this space, I feel less lonely compared to the last observation. It feels like that the drone has drawn out the distance between me and the other people, providing me with personal space.
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Indicative Plan
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Figure 2.9 (Indicative Plan of Building 10 Rooftop)
The triangular shape of the space allows for a diagonal flow of people while also separating the whole space into various little ‘corners’. Each corner feels secluded from the next, allowing people to do things with some privacy and peace. The difference between decking and turf flooring suggests different usage for the space - one promotes sitting down and doing work, while the latter promotes socialising and relaxing. The space is vulnerable to noise from many directions, but it doesn’t seem to bother people who just want to spend some time outside on the rooftop. From another perspective, the noise creates a masking effect that allows people to talk in privacy. I often see people walking out into the rooftop to take a phone call, and students having group discussions here.
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Sound Mapping
Figure 2.10 (Sound mappings of Building 10 Rooftop)
Again, the spectrogram map of this space has a similar pattern to University Lawn and NAS. These spaces are all dominated by sound in the mid to low frequency. The most intense sound mapped in three continuous strips shows that the ventilation sound in this area has three different pitches. Overall, the spectrogram shows a similar soundscape as the perceptual mapping. The sound of the wind, helicopter and other minor details are all diminished by the loud hum.
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Summary Though this space has a similar usage to NAS, I think it is more difficult to intervene than the NAS. This space has its own unique spatial qualities, it clearly draws out transitional space and resting areas, and even the corners are well-utilised with planters and movable seats. Though it is not heavily used, people come here at specific times of need (i.e. taking phone calls and seeking privacy from interior study space). One potential opportunity for intervention is to introduce more natural phenomena to soften the harsh soundscape. Perhaps I can install a wind-powered sounding intervention that harvests the harsh wind and turn it into a fun, melodic sonic experience.
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04 Sunken Garden
Figure 2.11 (Sunken Garden. Photo: Jeniece Cheung)
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Sunday, February 23rd | Sunny | 20°C a. Space Sunken Garden is surrounded by buildings on four sides. There are only four benches and a ‘stepwell’ form in the centre for seating. The rest of the garden is covered with grass, where people can lie down anywhere they wish. This space is not sheltered, meaning there is no protection from the rain. A few big trees and large bluestone walls of the former Melbourne Jail provide shade at different times of the day. There are two sculptures placed on the side of the garden, they are not visually obtrusive, but give people something to look at. b. Soundscape Similar to the other sites, the air conditioning vent sound is present. However, the sounds of this area are curiously in a higher pitch than normal, similar to a cicada call. Traffic sounds seep through the gaps of the buildings here, making it a dominant sound in the area. However, delicate foreground sounds are also amplified including more natural sounds like bird calls, leaves rustling and insects. c. Behaviours The lack of human presence here suggests that this is a quiet space. When present, loud conversations are uncommon. People sit here to meditate or read, making it ideal for silent, solitary activities. This space is also a transitional space, with people passing by very often. Most are very respectful of the existing atmosphere, and try to walk quietly without disturbing the users. d. Experience Being a very secluded space in the university itself, this space feels distinctively different from the usual university hustle. I think this space has a lot of potential for intervention. The space is very consistent and clean, it does not have much furniture to encourage people to undertake a particular activity, such as working at a table. Instead, it is the perfect place to come empty-handed, and just sit and enjoy the surroundings and atmosphere.
Monday, March 2nd | Partly Cloudy | 15°C a. Space Without people, this space seems more quiet and underused than usual. There is an empty bottle placed near the edge of the stepwell, suggesting that someone sat on the edge of the stepwell some time ago. b. Soundscape Though the space is quiet most of the time, at a time like today without human presence, sounds of nature are amplified even more (besides the high pitched hum that was also present during last observation). Even the smallest sound of a leaf falling onto the grass is clearly audible. These ‘micro’ sounds reveal a delicate atmosphere in the space.
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c. Behaviours Due to the COVID-19 outbreak, no people used or walked past this space during this observation. Therefore no human behaviour can be recorded. However, the existence of the drink bottle did suggest past human usage next to the stepwell. d. Experience The air in the space feels somewhat cold and eerie today, most likely due to the weather and the increasingly serious COVID outbreak. However, the sound of nature is amplified, and it feels like insects and birds are all emerging. It is suggestive of how this micro-ecosystem might be when humans are not using this space for a long period of time. I think it will be beneficial to place an object here that works with nature, yet still encourages people to use the space quietly and slowly. It is important to slow people down and invite them to sink into the environment freeing them from their absorption in the tasks of the day.
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Indicative Plan
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Figure 2.12 (Indicative Plan of Sunken Garden)
This is a transitional space that is heavily used. It leads from Russell Street to the exit at the bottom-left diagonal corner, with a clear view of the main activity area in the centre stepwell. However, people seem to be aware of how this space is typically used, and try to cross it with as little disturbance as possible. The vegetation invites a lot of wildlife and micro soundscapes. With the lack of human activities, these details become the main parts of the soundscape. The high pitch hum from the ventilation became especially obvious when one settles down and to soak in the peacefulness of the site. It mixes well with the rest of the soundscape, creating a unique little ensemble.
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Sound Mapping
Figure 2.13 (Sound mappings of Sunken Garden)
According to the spectrogram, Sunken Gardens has a very different soundscape compared to the previous sites. Rather than having a thick, bold strip of ventilation sound in the lower end of the map, there only appears a thin strip of constant sound in the mid to high end of the spectrum. Bird calls are also clearly mapped out, shown with an obvious peak in the map. Compared to the perceptual map, some details such as people’s footsteps are not recorded in the spectrogram. However, both perceptually and objectively the ventilation sound is not dominating all the other sounds in this space.
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Potential for Intervention: Reflection upon Sunken Garden Amongst all the four spaces I have observed, Sunken Garden clearly stood out as offering the most possibility. The identity of the space gradually revealed itself, as I observed every detail. The soundscape of the area is unique - it is not completely silent or quiet and the sounds in this space work well together, creating a harmonious environment. This is shown both from the perceptual mapping and the spectrogram.
This space has an obvious identity shaped by people’s activities within it. Rather than conducting generic activities like working and eating lunch, Sunken Garden acts as a space where people come specifically for its atmosphere. The quietness of the space invites activities like meditation and reading, and it influences passersby to treat the space with respect by making as little disruption as possible. Thus the identity of this space becomes ‘a place of a certain ‘atmosphere’ rather than ‘a place for a certain activity’.
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Wildlife is present in this space, adding an unpredictable element into the controlled human environment. The space is treated with respect by passersby, and bird calls often come in and out of perception. Bird calls become a stimulus and surprise to humans, as we don’t know when the next call will happen. Situated in this space, I find myself wondering about these bird calls: What kind of bird will it be? How long will it last? Stimulation is one of the essential needs for experience design for moments of pleasure6.
Lastly, there is no excess furniture in Sunken Garden. The lack of facilities here opens the imagination of its users. Besides the three benches and two garden pots, people have been lying on the lawn, sitting along the sunken steps, or just roaming around the area in general. I can intervene in this space by activating more areas in the garden, or deactivate the existing furniture to make the space more open. Compared to the other spaces, Sunken Garden is like a blank canvas for intervention. Hassenzahl, M., Eckoldt, K., Diefenbach, S., Laschke, M., Lenz, E., & Kim, J. (2013). Designing moments of meaning and pleasure. Experience design and happiness. International Journal of Design, 7(3), 21–31. 6
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Reflection This booklet revealed an optimal site of intervention as I had initially planned, The Sunken Gardens. It also renders a set of methods of field observation, which breaks each site up into four types of observation to help select the ideal intervention type. Through multiple reflections, I am able to learn about the spatial, aural, behavioural, and experiential qualities of space.
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However, despite successfully locating a site of intervention, the COVID-19 pandemic stopped me from subsequently accessing any of the sites I observed. As a response to the stay-at-home restrictions, I turned my research direction to bedroom experimentation and prototyping, which is discussed in detail in the next book. The results of these observations came into use again for Book 4, the final exhibition at RMIT Design Hub forecourt.
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After the prototyping process, I did not return to Sunken Garden as a site for the final exhibition. This is due to the rapid change in research direction. My focus turned towards designing playful objects that transform existing sites into places for exploration, and The Design Hub forecourt provides a contrasting opportunity for my interventions. This is expanded on in detail in Book 4.
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