David Prior
Senior lecturer in Music
Darlington College of Arts
Beyond these Four Walls: Sound Space
Abstract
Sound directly affects our experience of the physical environment; in extreme cases the presence of certain sounds in a building can have an uncanny effect on our perception of a place. Sick building syndrome, paranormal experiences and acoustic weaponry are all effects that can be attributed to this phenomena. More subtle acoustic conditions can also create unexpected, although less apparent responses to a place. By referring to the writings of Finnish theorist, Juhani Pallasmaa, exploring the acoustic experiments of the seventeenth century acoustician, Athanasius Kircher and drawing on more contemporary discourses in the emerging fields of acoustic archaeology, acoustic ecology and soundscape composition, we will explore the ways in which sound can be used to heighten our multi-sensory experience of architectural space.
We will concentrate not only on the innate sonic qualities of architectural spaces but implied spaces that can exist beyond the ‘four walls’. Peter Eisenman ends his 1992 essay ‘Visions’ unfolding…’ with the following challenge: “Architecture will continue to stand up, to deal with gravity, to have four walls. But these four walls no longer need to be expressive of the mechanical paradigm. Rather they could deal with the possibility of these other discourses, the other affective senses of sound, touch and of that light lying within the darkness”. (Eisenman, 1992:24). What follows is an overview of some of the above themes, which have influenced the formation of our partnership liminal, a practice specialising in the exploration of possible redefinitions of the ‘four walls’ described by Eisenman by means of sonic intervention.
Biographies
liminal is a partnership that specialises in architectural sound art and design and the research, development and creation of ‘sonic spaces’. The partnership was founded in 2003 by sound artist and composer David Prior and architect Frances Crow.
Before founding liminal, David and Frances worked together on projects that combined their expertise in architecture and sound and covered the areas of public art works, education and installation. The areas that liminal have since worked in include: site specific, spatialised sound installations; sound consultancy and design for architects, artists and designers and research into relationships between architectural, public space and sonic art practices.
David Prior is a composer and sound artist. He studied at the University of Wales, Bangor and the University of Birmingham where he completed a Ph.D in Musical composition in December 2001. His sound work from this period often focused on the use of recorded media and multi-channel pieces which explore the use of space in musical composition.
David’s work has been performed, exhibited and broadcast widely and has won numerous prizes from institutions including Bourges International Electroacoustic Music Competition, Cornelius Cardew Prize, E.A.R (Hungarian Radio) and the George Butterworth prize.
In addition to his work with liminal his current projects include a number of writing and production collaborations with other artists. He also continues to work on video and gallery based and site specific installations and is currently a part time senior lecturer at Dartington College of Arts in Devon, UK.
Frances Crow is a qualified architect who has worked in practice since 1998. Following her training at Liverpool John Moores and the Bartlett University College London, she worked for a number of national and international architects. Following her work with van Heyningen and Haward Architects, London, she began her own architectural design and research practice in October 2001.
In addition to her work with liminal she works as a part-time senior lecturer at Plymouth University. In her architectural practice she works across the disciplines of architectural research and design. A number of her projects have led to interdisciplinary collaborations, including the research project Waiting, in collaboration with Josephine Pletts, which was supported by the Royal Institute of British Architects.
