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Project Portfolio 

Project Design Statement 

Technical Design Study 

The urban pleasure garden is defined through a soundscape where visual and auditory experiences engages the user with the introduction of sound into architectural design. The archive building located beneath the landscape consists of a research centre for musicians and students from the Royal College of Music.
The differences between the senses of sight and sound is described through all elements of the project. The sound mirrors visually reflect the surroundings with sectional profiles that reveal the physics behind the sound making. The amphitheatre, modelled at true scale to the original Epidaurus in Greece, is seen as an expression of perfect sound while the said perfect auditory qualities are experienced through an auditorium located alongside this visual representation. Additional and ancillary facilities whether programmatic, circulatory and/or experiential are all designed to enhance the understanding of sound in relation to different spatial forms.

The interest for exploring how sound interacts with design theory was awaken by The Manhattan Transcripts, Bernard Tschumi invented a transcription method to communicate relevant objects of study for architecture subject that were not appreciable in the traditional plan section elevation. 
The contrast between the auditory  and the visual will be present all along the project, the influence of sound and its limits in architectural design will lead the design.  
The first ‘architecture as sound’ presented is a poem born from the The Memorial Gallery proposal.
The most relevant sounds for the construction of a 2020 Urban Pleasure Garden will be the focus of study. 

My project is a Sound Research centre, located on the Natural History Museum. This is my interpretation and reading of an urban pleasure garden because it incorporates an auditory landscape in which the community can enjoy and discover the architectural transcriptions of the site’s sounds. It exposes all the sound categories established as architectural typologies and the influence of sound mechanics and music theory on them.

Transcript poem of a building (The Memorial Gallery)



Darran Andersen, Imaginary cities 

John cage, Silence: Lectures and Writings  
Images of sound, Javier Ariza  

Branden W. Joseph, John Cage and the Architecture of Silence 

La Balza, quindinciale futurista  

Smithsonian Mag ,5 1/2 Examples of Experimental Music Notation 

The soundscape as time capsule: A creative project based on the sounds of the first train station of Cuenca, Javier Ariza.
Synaesthesia in graphic notation: visual language for sound representation, Marina Corral. 

David Buck, A Musicology for Landscape  

David Buck, Drawing Sound as Landscape 

Busoni, Feruccio, A New Aesthetic of Music, N.Y. 1911 
Nico F Declercq and Cindy S. A. Dekeyser, Acoustic diffraction effects at the Hellenistic amphitheater of Epidaurus: Seat rows responsible for the marvelous acoustic. 


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