blindscap e “Sonic Article”, Simon Joseph Meade
RMIT LANDSCAPE ARCHITECTURE SEMESTER 01, 2010 COURSE PAMPHLET
course ab s t r a c t What is the concept of a park to those who are visually impaired or blind? What are the forms of sensory landscapes that are manifest through information delivered only to our auditory or tactile systems? The continuing dominance of visual modes of spatial design in landscape praxis seems only to reinforce the hegemony of considering the landscape as a discrete and complete ocular manifestation of information. This approach negates those deeper multi-modal considerations that landscape praxis may afford in an age where advanced connectivity, embedded technologies and instantly retrievable information will increase exponentially in the near future. This design studio explored sense systems such as the tactile and auditory as a means for the exploration of a catalytic design process in which landscape design praxis enabled encounters within the landscape that do not discriminate the senses. We particularly focused on the auditory and the concept of soundscape and acoustic ecology.
“Biophonic Skin”, Allison Kim Fenton
Acoustic ecology is a multidisciplinary field of investigation defined by members of affiliated groups across the globe. It incorporates all fields of investigation into the phenomenon of sound. From environmental science to musical composition, architecture, acoustics, engineering and education are all disciplines that have an engagement in better understanding our sounding environment. We drew on the research of R. Murray Schafer, Barry Truax and Jean-François Augoyard, in understanding soundscape as a taxonomy of auditory phenomena rich in communicable meaning. “Sonic Article”, Simon Joseph Meade
The project was developed in Merri Creek flowing into the Yarra where the landscape generates a ravine that crosses a series of infrastructures and residential neighbourhoods in Melbourne’s North East. We had studio guests, with visual impairments, and involved in the design within the public sphere for people with disabilities. We used their experiences and means for navigation through the landscape as a catalyst for our approach to designing within Merri Creek. We used soundwalks, listening assessments, audio recording techniques and sound mapping as a means to better understand the site in light of its non-visual navigable qualities. “Chords of Natural Selection”, Stephanie Donna Kumar
contents Alison kim Fenton Alexander James Hibberd Catherine Louise Jensen Stephanie Donna Kumar Simon Joseph Meade Tristan Lloyd Mioni Heather May Amanda Stevenson Jack Austin Tupper
course leader: thanks to:
Dr. Michael Fowler Armando Oliver Suinaga Jen Hargrave, Lauren Hayes, Michael Howard, Charles Anderson, Jane Shepard, Craig Douglas
biophonic s k i n
Aliso n K i m F e n t o n
LA Design Research Studio 4
The idea of Biophonic Skin was inspired by this community concern for the creek & outlines a concept where external man-made & mechanical sounds are attenuated via a ‘skin’ of noise barriers in order to define a series of Biophonic zones, i.e. “places where the pristine acoustics of nature can be clearly heard”. The theory behind this objective lies in the fact that noise pollution is interfering with the natural mating & cultural calls of birds, mammals, insects etc. and effecting higher a momentum for extinction rates.
The result is a fracturing within species, leaving isolated animals at higher risk of predation & a reduction in the efficiency of mating programs. Biophony has become the vehicle for a Blindscape where natural & internal sounds are amplified & external noises are reduced. The design not only defines and articulates a sense of space & place, but also through the interrogation of temporal qualities and faunal characteristics, explores the concepts of time, reflection & tranquility.
tree top w a l k w a y
Alexa n d e r J a m e s H i b b e r d
LA Design Research Studio 3
the sporting stands The idea behind having stands was to allow for a greater use of the site and give my project more levels than just an ‘A to B’ path. The stands allow for access to and from the path as well as being a place or people to sit and rest, and if there is something going on at either the sporting fields or the vallodrome then people can sit down and enjoy spectating.
I had how I wanted my path to move but it was lacking some function to it, so I added another use to the path. At certain areas along the path, such as De Chene Reserve, the path separates and one path then becomes a grandstand to be used by the public, this mainly occurs at football ovals. Figuring out how the path moves with the stands was also a challenge because the stands had to fit but couldn’t interrupt the actual paths path.
Cath e r i n e L o u i s e J e n s e n
LA Design Research Studio 2
chords of n a t u r a l s e l e c t i o n
Steph a n i e D o n n a K u m a r
LA Design Research Studio 5
The Desiign intent of the project is encompassing an atmosphere based around the auditory and tactile senses. Catering for the public specifically the visually impaired, the notion of water throughout the site is proposed.
Through adjusting the current site the conditions of water are mimicked in solid, liquid and gas states. A series of paths have been established pulling the user through three different conditions of vegetation solid (the alpine state of snow gums), liquid (the eucalypt and acacia state) and gas (the moss, fern and willow state).
sonic artic l e
Simo n M e a d e
LA Design Research Studio 4
The site will be transformed into an acoustic exhibition space which highlights the acoustic examples which are overlooked within everyday life. With the possibility of multiple acoustic zones within the larger form users could come to site and input their own sound examples to be exhibited. The landscape would be one which is not shaped through visual or tactile qualities rather, acoustic ones which allows for specifi c sound examples to be induced or fi ltered.
The site could one day be transformed into an acoustic museum which showcases extinct or rare Soundmarks of the community, highlighting the need for the wider community to take note of the Soundscape around them and experience the heightened sense of sound which the blind possess.
sensory la n d s c a p e
Trista n L l o y d M i o n i
LA Design Research Studio 3
intensify
Heat h e r M a y A m a n d a S t e v e nson LA Design Research Studio 3
For my design concept, I proposed a change in the path, to make Merri Creek more accessible to blind, and visually impaired persons, as well as the general public. I aim to create a fuller experience of the site by engaging more than just the visual interaction with users.
By transforming the area through a series of subtle, and more exaggerated changes to the landscape, I aim to bring out a more sensory quality in the space, which would enable those lacking one sense, to engage with the others present in the space.
sonic artic l e
Jack A u s t i n T u p p e r
LA Design Research Studio 5
In order to heighten the presence of the access points, and to create an experience within the park that allows the visually abled to understand blindness a little better, Parabolic Reflectors are installed across the 5 hot spots. A Parabolic Reflector is basically a geometric shape that intercepts noise waves and focuses them upon one point at the centre of its circular dish. Conventionally, there is a microphone in the centre of these reflectors, recording noise levels of whatever it is
pointed at, however these Creek Nav reflectors, will transport the noise around the site. With no energy needed to power them, the reflectors naturally direct noise levels through a short series of pipes (all straight to ease movement) and out of another reflector at the other end, because of the reflectors ability to disperse sound.