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I’m really pleased to share the cover of my new book The Trembling City, which will be published by MIT Press on October 27. (Link in bio.)

The book is a meditation on the role of sound and vibration as instruments of violence that shape urban life. I consider forms of atmospheric occupation and vibrational warfare—a covert violence enacted through waves—as they turn cities themselves into instruments of war: amplifying sonic shock, conducting energy through bodies, air, and buildings, and saturating everyday life with violence.

I’ll share more from the book in the coming months, but for now I wanted to celebrate the photographer and artist Mane Hovanissyan, whose work graces the cover. I first met Mane at a Scoring the City workshop presented by Crossroads Festival in Yerevan in 2023, which I hosted with the pianist Eve Egoyan.

Mane was the photographer for the event, but she spontaneously took part in the score-making part of the workshop. She created three memorable photographic scores based on local architecture, one of which a student ensemble interpreted as music.

When I saw this photograph in particular, I immediately said to Mane, ‘maybe this could be the cover of my book one day.’ It seemed like a distant reality, but when I approached the press two years later, they loved it, too.

Two chapters of the book are dedicated to the Armenian Genocide and its aftermath: one listens to tent cities in the Ottoman Empire, attending to the sound worlds of ‘death-worlds’ (Mbembe); the other listens to disappeared cities in post-genocidal Turkey today.

It means a lot to me to be able to feature the work of a brilliant, soulful, and deeply imaginative artist from Armenia on the cover—and to have an image that also subtly refers to Armenia in its modern, defiant frame.

Much love to everyone connected with the book and with this image—and my gratitude to the press’s designer Marge Encomienda for turning Mane’s photograph into this wonderful cover.

Pre-order link here and in bio:
https://mitpress.mit.edu/9780262056489/the-trembling-city/

@manecrimson @photostationevn
@mitpress
@oxmusicfaculty
@soncities
#sound #cities #violence

At @cmmr.2025 , Gascia Ouzounian will give a keynote lecture and, with architect and sound artist Jonathan Tyrrell, co-lead a design workshop on vibrational architectures—architectures that foreground vibrational capacities rather than treating vibration as noise. These sessions will explore how vibration can reshape our understanding of architecture as a conductive field, tracing a genealogy of vibrational practices that reveal architecture’s aesthetic and political potential as an energetic phenomenon.
 
For more information, see

https://cmmr2025.prism.cnrs.fr/keynote-talks/
https://cmmr2025.prism.cnrs.fr/workshops/

[TR in comments]

This workshop will explore approaches to designing sonic architectures centred on care, refuge, and sonic justice. We will encounter a range of works that span sound art, architecture, and urban design, including the Silent Room series by Nathalie Harb, a series of urban typologies that reimagine the city through listening.

This workshop will be co-led by Gascia Ouzounian (Director of the SONCITIES project) together with Nathalie Harb, Sena Karahan and Onur Atay (Urban.koop). It will open with an introduction by Ouzounian on the SONCITIES Project and drawing on her forthcoming book The Trembling City, which investigates the sonic and vibrational aspects of urban violence in contexts of genocide, war, and urbicide. Nathalie Harb will then discuss her approach to designing sonic architectures in the context of her series The Silent Room, including a recent design collaboration with SONCITIES. Participants will then be invited to sketch installations, architectures, and spatial designs that respond to the theme of sonic refuge. We will discuss these designs collectively; selected projects will be featured on soncities.org, and considered for publication in a forthcoming book.

Recommended for: Architects, urban designers, spatial practitioners, artists, sound artists

Conveners: Gascia Ouzounian, Nathalie Harb, Sena Karahan, Onur Atay

When/where: October 9th, 2-5 PM, Workshop 4, SALT Galata, Arap Cami, Bankalar Cd. No:11, 34420 Beyoğlu/İstanbul

The event will be conducted in English and is limited to 15 participants. To access the application form, https://forms.gle/hmhQrA7ik6hwiZLZ6

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Thank you Nishi Shah and FRAME for this wonderful piece on Silent Room V.04 by Nathalie Harb, in collaboration with Gerard Gormley. Shah writes: ‘Although sound design remains relatively rare in spatial practice, a growing number of innovative projects are harnessing soundscapes as powerful tools for wellbeing.’ She continues:

‘Sonorous Cities has been a pioneering project at the intersection of sound, urbanism and critical spatial practices. The Speculative Designs: Urban Sonic Ecologies project, a collaboration between Soncities and Central Saint Martins MA Cities, engaged postgraduate students from architecture, urbanism and industrial design programmes to explore how sonic studies can inform urgent ecological design responses, introducing concepts like sonic cartographies, countermapping and integrating sound with green infrastructure in urban policy. Students developed speculative interventions addressing diverse concerns, from human and non-human wellbeing to the right to silence or noise. In parallel to this educational exploration, another Soncities project, Silent Room V.04, was developed for the 2024 London Festival of Architecture. Designed by Nathalie Harb, this urban intervention continues her series of architectural typologies that reimagine public space through the act of listening and confront the injustice of noise in dense urban environments. ‘As a space of quietness, reduced information influx, and focused listening, it is an invitation to acknowledge and bring to mind the losses of our day,’ describes Harb. Sound artist Gerard Gormley creates a layered composition by blending global field recordings with local sounds, then re-sounding them through site materials – wood, steel, brick and plastic – using vibrational speakers. The result is a space of quiet reflection, cultural layering and sensory belonging.’

Link in bio.

We remain grateful to Nathalie, Gerard, MA Cities at CSM, Diana Ibañez-Lopez, John Bingham-Hall, and all who supported these projects.

@nathaliehrb
@gormleygerard
@soncities
@csm_ma_cities @public_culture_ @dianagrama
@gasciaouzounian
@oxmusicfaculty#research
@londonfestivalofarchitecture
@meanwhile_space @framemagazine

Happy to share our co-authored chapter 'On Vibrational Architectures' from Emma-Kate Matthews's outstanding volume The Routledge Companion to the Sound of Space.

On Vibrational Architectures
By Gascia Ouzounian (text) and Jan St. Werner (images)
This chapter develops the concept of vibrational architecture: architecture whose acoustic are highlighted and extended (not reduced); and architectural and spatial practices that privilege vibrational phenomena, including the material transmission of audible and inaudible sound. The concept of vibrational architecture is explored in connection to the work of practitioners including Katarzyna Krakowiak, Maryanne Amacher, Mark Bain, Mendi + Keith Obadike, and others. Vibrational architecture can be a way of conceptualising architecture as comprised not only of materialities, but also of energies that modulate and complicate those materialities. A vibrational architecture challenges the perceived stability and fixity of architectural forms and structures; and it calls for architecture studies to consider not only what was built and what remains, but also what has passed through: those transient and ephemeral energies that have been absorbed, transmitted, transduced, and reflected by architecture.

Free download here (link in bio):
https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003347149-21/vibrational-architectures-gascia-ouzounian-jan-werner

@emmatr0n
@gasciaouzounian
@fiepblattercatalogue

Thanks to Emma-Kate Matthews for the invitation to contribute to this volume. Later this week we'll share some of the brilliant design responses to our workshop on vibrational architectures by students at the University of Zagreb Faculty of Architecture.

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
As part of the Quiet Urgency programme, we were honoured to collaborate with Nathalie Harb on Silent Room V.04, part of a series of urban typologies by Harb that reimagine the city through listening. Installed at LJ Works, the structure’s tent-like form evoked refuge, belonging, and rest, responding to themes of migration and movement. A soundtrack by Gerard Gormley used field recordings and local sounds from Loughborough Junction, filtering them through site materials to explore how migrating cultures are reshaped through environment and exchange.

Silent Room V.04’s tent structure questioned the very notion of shelter in an era of mass displacement—particularly in light of attacks on displaced Palestinians sheltering in tents in Gaza. As a space of quiet and reduced sensory input, it invited reflection on what refuge means today.

The launch of Silent Room V.04 featured a panel on the topic of sound and refuge with Harb, Gormley, and urbanist Ammar Azzouz, acclaimed author of Domicide: Architecture, War and the Destruction of Home in Syria.

You can view video of the full panel and see photos from the launch at Soncities.org:
https://www.soncities.org/current/panel-for-launch-of-silent-room-v04
(Link in Bio)

With warm thanks to Nathalie Harb, Gerard Gormley, Ammar Azzouz, Freya Bishop, John Bingham-Hall, Diana Ibáñez-López, Gaia Maria Vignali, Eden Bhutia, LJ Works, Meanwhile Space, and London Festival of Architecture.

Photos 1-6 by Gaia Maria Vignali.

@natharb
@_ammar_azzouz
@gormleygerard
@gasciaouzounian
@gaiavignali
@publicculture
@dianagrama

@ljworks_ldn
@meanwhile_space
@londonfestivalofarchitecture

@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host two workshop days around Quiet Urgency, following the symposium organised by @gasciaouzounian, @public_culture_, and @dianagram. Taking place at Camley Street Nature Reserve, it gathered together symposium participants for two days of experiments in sounding and listening informing a set of design responses featured in the following posts. 

Catherine Clover (@cathclover) led an informal, inclusive, participatory voicing action in the nature reserve using a score based on the voices of the local birds.


Alex de Little (@alex_delitte) led Tentacular Listening, engaging cross-pollinating practices of collective reading and extended listening to tune into what might be audible beyond the surfaces of plants and materials.

Jacek Smolicki (@jacek_smolicki) led a demonstration of a soundwalk work using live transmission from a mix of microphones to receivers enabling participants to sample the sound sources.

In response to Smolicki’s presentation, Sven Anderson (@_svenanderson_) gave a critical response drawing on his project Sound-Frameworks, discussing issues around the integration of creative sound and soundwalking practices into more mainstream urban design processes.


Finally, a Countersonics conversation between Gascia Ouzounian & KMRU (@_kamaru_) addressed the artist’s work on environmental listening and sound recording, particularly in times of environmental crisis and ecocide.

Warm thanks to all the presenters and students who took part in these design workshops!

@gaiavignali
@elli_ioot.des
@emi.wells
@davidaguileraperez
@caro.wells
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

Revisiting 𝐐𝐮𝐢𝐞𝐭 𝐔𝐫𝐠𝐞𝐧𝐜𝐲: 𝐃𝐢𝐬𝐭𝐮𝐫𝐛𝐢𝐧𝐠 𝐒𝐨𝐧𝐢𝐜 𝐄𝐜𝐨𝐥𝐨𝐠𝐢𝐞𝐬
In June 2024, SONCITIES partnered with @csm_ma_cities to host a symposium organised by @gasciaouzounian, @public_culture_, and @dianagram.

The symposium asked what it means to think about sound through an ecological framework, and about ecology through a sonic framework. It explored how urban design has shaped ecologies of sound, but also how the sonic agency of non-human life exceeds and disturbs what can be planned. 

It included contributions from: Jacek Smolicki, Ella Finer, Catherine Clover, Alex de Little, Nathalie Harb, Sarah Lappin, Ellie Ratcliffe, Adriana Cobo Corey, Maan Barua & Mriganka Madhukaillya.

In a critical response published on the soncities.org site, @public_culture_ writes:
‘Planning policy tends to privilege the quiet, and to see nature as a way to absorb the excess noise and pollution with which we make our environments unliveable. But sonic justice is also about the right to be heard, for both humans and non-humans. There is an urgent, overlooked need for new frameworks of urbanism that can work with the more-than-human and its sonic vitality, without silencing or controlling it. This symposium responded to these quiet urgencies by assembling work addressing the complex ecological formations that constitute our worlds, as part of a broader constellation of critical practices of sonic urbanism.’

Full text: see link in bio

1- The Polish-Belarussian border, from Jacek Smolicki's presentation

2- Ella Finer on Acoustic Commons and the Wild Life of Sound

3-“Song Cycle” by Catherine Clover

4-5 Slides from 'Amphibious: Three Surrounds' by Maan Barua and Mriganka Madhukaillya

6- Slide from Nathalie Harb’s presentation on the Silent Room project

7- Queens University Belfast School of Architecture student design response from the 2024 brief Quiet Rooms in Belfast, presented by Sarah Lappin

8- “The Great Unwashed,” from Adriana Cobo Corey’s talk, “Maintenance Joy”

@alex_delitte
@cathclover
#EllaFiner
@jacek_smolicki
@nathaliehrb

@sarahalappin
#Ellie Ratcliffe
@maanbarua

@mriganka_madhukaillya

@nanacobo
@soncities
@csm_ma_cities
@oxmusicfaculty

In June 2024, alongside the Quiet Urgency symposium, @soncities and @csm_ma_cities collaborated to facilitate a speculative design process with @csm_news postgraduate students. The brief was to create a speculative intervention into the sonic ecology of a specific site of their choosing. Together, these projects represent some of the new design processes and architectural spaces that become possible when sound is placed at the centre of thinking about city-making.

For full details see soncities.org (link in bio)

Caroline Wells - Instrument for Migratory Songs
This design project deals with the sonic dimensions of diasporic experience by imagining a public space intervention that could stage and amplify migrant voices, as well as other sonic practices that help migrants (human or non-human) stake an acoustic claim in the city.
@caro.wells

David Aguilera Pérez – Echoes of the Devilish Noise
This contemporary installation explores the idea of the absence, drawing inspiration from the sea snail, a mollusk known for echoing the sounds of the sea. It merges auditory and spatial elements of the indigenous material cultures of Bogotá, and the natural ecologies of the site, in order to provoke a discomfort generated by awareness of the loss of these.
@davidaguileraperez

Emily Wells – Countermapping Highbury Junction
This cartographic research challenges the sonic binary that defines the designation of urban greenspaces as quiet zones, and argues for a more nuanced understanding of the experience of noise within these places.
@emi.wells

Elliot Han – Structure for Tower Hamlets Cemetery
As the result of an investigation into the sonic ecologies of Tower Hamlets Cemetery Park, a semi-wild green space that has been protected by community action, this project proposes the addition of a structure that would help to focus listening.
@elli_ioot.des

Gaia Maria Vignali – Sound of Waiting
Through a combination of photography and graphic notation, this project proposes a new visual methodology for a sonically-informed public space design. Photographs are overlaid with a system of visual symbols that capture the sonic dynamics of the spaces documented.
@gaiavignali

In June 2024, alongside the Quiet Urgency symposium, @soncities and @csm_ma_cities collaborated to facilitate a speculative design process with @csm_news postgraduate students. The brief was to create a speculative intervention into the sonic ecology of a specific site of their choosing. Together, these projects represent some of the new design processes and architectural spaces that become possible when sound is placed at the centre of thinking about city-making.

For full details see soncities.org (link in bio)

Caroline Wells - Instrument for Migratory Songs
This design project deals with the sonic dimensions of diasporic experience by imagining a public space intervention that could stage and amplify migrant voices, as well as other sonic practices that help migrants (human or non-human) stake an acoustic claim in the city.
@caro.wells

David Aguilera Pérez – Echoes of the Devilish Noise
This contemporary installation explores the idea of the absence, drawing inspiration from the sea snail, a mollusk known for echoing the sounds of the sea. It merges auditory and spatial elements of the indigenous material cultures of Bogotá, and the natural ecologies of the site, in order to provoke a discomfort generated by awareness of the loss of these.
@davidaguileraperez

Emily Wells – Countermapping Highbury Junction
This cartographic research challenges the sonic binary that defines the designation of urban greenspaces as quiet zones, and argues for a more nuanced understanding of the experience of noise within these places.
@emi.wells

Elliot Han – Structure for Tower Hamlets Cemetery
As the result of an investigation into the sonic ecologies of Tower Hamlets Cemetery Park, a semi-wild green space that has been protected by community action, this project proposes the addition of a structure that would help to focus listening.
@elli_ioot.des

Gaia Maria Vignali – Sound of Waiting
Through a combination of photography and graphic notation, this project proposes a new visual methodology for a sonically-informed public space design. Photographs are overlaid with a system of visual symbols that capture the sonic dynamics of the spaces documented.
@gaiavignali

In June 2024, alongside the Quiet Urgency symposium, @soncities and @csm_ma_cities collaborated to facilitate a speculative design process with @csm_news postgraduate students. The brief was to create a speculative intervention into the sonic ecology of a specific site of their choosing. Together, these projects represent some of the new design processes and architectural spaces that become possible when sound is placed at the centre of thinking about city-making.

For full details see soncities.org (link in bio)

Caroline Wells - Instrument for Migratory Songs
This design project deals with the sonic dimensions of diasporic experience by imagining a public space intervention that could stage and amplify migrant voices, as well as other sonic practices that help migrants (human or non-human) stake an acoustic claim in the city.
@caro.wells

David Aguilera Pérez – Echoes of the Devilish Noise
This contemporary installation explores the idea of the absence, drawing inspiration from the sea snail, a mollusk known for echoing the sounds of the sea. It merges auditory and spatial elements of the indigenous material cultures of Bogotá, and the natural ecologies of the site, in order to provoke a discomfort generated by awareness of the loss of these.
@davidaguileraperez

Emily Wells – Countermapping Highbury Junction
This cartographic research challenges the sonic binary that defines the designation of urban greenspaces as quiet zones, and argues for a more nuanced understanding of the experience of noise within these places.
@emi.wells

Elliot Han – Structure for Tower Hamlets Cemetery
As the result of an investigation into the sonic ecologies of Tower Hamlets Cemetery Park, a semi-wild green space that has been protected by community action, this project proposes the addition of a structure that would help to focus listening.
@elli_ioot.des

Gaia Maria Vignali – Sound of Waiting
Through a combination of photography and graphic notation, this project proposes a new visual methodology for a sonically-informed public space design. Photographs are overlaid with a system of visual symbols that capture the sonic dynamics of the spaces documented.
@gaiavignali

In June 2024, alongside the Quiet Urgency symposium, @soncities and @csm_ma_cities collaborated to facilitate a speculative design process with @csm_news postgraduate students. The brief was to create a speculative intervention into the sonic ecology of a specific site of their choosing. Together, these projects represent some of the new design processes and architectural spaces that become possible when sound is placed at the centre of thinking about city-making.

For full details see soncities.org (link in bio)

Caroline Wells - Instrument for Migratory Songs
This design project deals with the sonic dimensions of diasporic experience by imagining a public space intervention that could stage and amplify migrant voices, as well as other sonic practices that help migrants (human or non-human) stake an acoustic claim in the city.
@caro.wells

David Aguilera Pérez – Echoes of the Devilish Noise
This contemporary installation explores the idea of the absence, drawing inspiration from the sea snail, a mollusk known for echoing the sounds of the sea. It merges auditory and spatial elements of the indigenous material cultures of Bogotá, and the natural ecologies of the site, in order to provoke a discomfort generated by awareness of the loss of these.
@davidaguileraperez

Emily Wells – Countermapping Highbury Junction
This cartographic research challenges the sonic binary that defines the designation of urban greenspaces as quiet zones, and argues for a more nuanced understanding of the experience of noise within these places.
@emi.wells

Elliot Han – Structure for Tower Hamlets Cemetery
As the result of an investigation into the sonic ecologies of Tower Hamlets Cemetery Park, a semi-wild green space that has been protected by community action, this project proposes the addition of a structure that would help to focus listening.
@elli_ioot.des

Gaia Maria Vignali – Sound of Waiting
Through a combination of photography and graphic notation, this project proposes a new visual methodology for a sonically-informed public space design. Photographs are overlaid with a system of visual symbols that capture the sonic dynamics of the spaces documented.
@gaiavignali

In June 2024, alongside the Quiet Urgency symposium, @soncities and @csm_ma_cities collaborated to facilitate a speculative design process with @csm_news postgraduate students. The brief was to create a speculative intervention into the sonic ecology of a specific site of their choosing. Together, these projects represent some of the new design processes and architectural spaces that become possible when sound is placed at the centre of thinking about city-making.

For full details see soncities.org (link in bio)

Caroline Wells - Instrument for Migratory Songs
This design project deals with the sonic dimensions of diasporic experience by imagining a public space intervention that could stage and amplify migrant voices, as well as other sonic practices that help migrants (human or non-human) stake an acoustic claim in the city.
@caro.wells

David Aguilera Pérez – Echoes of the Devilish Noise
This contemporary installation explores the idea of the absence, drawing inspiration from the sea snail, a mollusk known for echoing the sounds of the sea. It merges auditory and spatial elements of the indigenous material cultures of Bogotá, and the natural ecologies of the site, in order to provoke a discomfort generated by awareness of the loss of these.
@davidaguileraperez

Emily Wells – Countermapping Highbury Junction
This cartographic research challenges the sonic binary that defines the designation of urban greenspaces as quiet zones, and argues for a more nuanced understanding of the experience of noise within these places.
@emi.wells

Elliot Han – Structure for Tower Hamlets Cemetery
As the result of an investigation into the sonic ecologies of Tower Hamlets Cemetery Park, a semi-wild green space that has been protected by community action, this project proposes the addition of a structure that would help to focus listening.
@elli_ioot.des

Gaia Maria Vignali – Sound of Waiting
Through a combination of photography and graphic notation, this project proposes a new visual methodology for a sonically-informed public space design. Photographs are overlaid with a system of visual symbols that capture the sonic dynamics of the spaces documented.
@gaiavignali

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

Feel the Sound
An exhibition by Barbican Immersive
Barbican Centre, London
Thu 22 May—Sun 31 Aug 2025

SONCITIES is pleased to participate in Feel the Sound with ‘Vibraceptional Plate,’ an installation conceived and designed by Jan St. Werner, and co-designed and engineered by Michael Akstaller.

SONCITIES also contributes to the exhibition catalogue, edited by Taous Dahmani, with a text by Gascia Ouzounian.

Warm thanks to Nicole L’Huillier and Sarah MacKenzie for inviting us to take part in Feel the Sound. 'Vibraceptional Plate' is featured in a space they co-curated, Embodied Listening Playground. Thanks also to Luke Kemp and the entire team at Barbican Immersive for their thoughtful work on this edition of Feel the Sound, which will tour to several galleries worldwide.

Commissioned by SONCITIES as part of a series of commissions around sonic architecture and sonic urbanism, 'Vibraceptional Plate' was first exhibited in the exhibition Vibraception at the Museum of Contemporary Art, Zagreb, curated by Ana Skgero. It was one of two projects developed for the SONCITIES Design Week and research programme themed 'Energies' at DAAD Gallery Berlin.

We’re pleased that the work has received enthusiastic reviews and mentions in The Guardian, Financial Times, Apollo, and elsewhere:

‘Need a rest? There are multiple benches and a vibrating platform where you can literally feel sound waves coursing through your body. … Years of scientific research and experimentation influenced both the compositions and ways you can interact with them.’
— London Art Roundup

‘Vibraceptional Plate by Jan St. Werner invites you on to a large metallic platform that thrums with different trouser-shaking frequencies and pulses as you shift your weight and position. You step off weirdly alert, some obscure switch in your limbic system flicked on.’
— Sam Davies, APOLLO

You can read more about ‘Vibraceptional Plate’ on our Research pages:
https://www.soncities.org/current/vibraceptional-plate

Photos 1, 3: Thomas Adank/Barbican Centre
Photo 5: Sanja Bistričić Srića

@fiepblattercatalogue
@michaleakstaller
@mentarrudy
@nico_lh
@sarahmackenzie
@barbican
@soncities
@oxmusicfaculty

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

The final sessions for ENERGIES (31 April–2 May) at @daad_artists in Berlin featured a closing panel in which invited architects, urbanists, anthropologists, and theorists responded to the ENERGIES programme.

Anthropologist and director of UC Berkeley’s Media Studies Program Daniel Fisher spoke about ‘the suspension of certainty as a kind of acoustic strategy for thinking about sonic architectures, vibratory anarchy, and urban acoustic energetics.’

Architectural researcher Eva Tisnikar discussed the relation between atmospheric and material registers in architectural thinking, and the importance of ‘energetic’ approaches across geographies, geologies, and scales.

Mark Campbell argued that architecture is ‘anything but solid... subject to waves, energies, forces, seen and unseen.’ He proposed rethinking architectural history as an ‘anarchy of vibrations.’

Ines Weizman spoke of sonic architecture research at RCA with Mhamad Safa, Gascia Ouzounian, Jan St. Werner, and staff and students—including fieldwork at World’s End estate—as a way of tuning into architectures and dissident spaces, ‘places you can’t listen into… that you come to find--or provoke.’

Diana Ibañez-López, course leader of MA Cities at CSM, reflected on bringing sound into urban research through years of collaboration with SONCITIES, highlighting students’ work with sound mapping, soundwalking, music-driven spatial activism, and the questioning of sonic norms. She spoke of ‘the fracturing of boundaries that that sound in the city does, and how that can blow apart not just the scale of what we consider to be urban and urban active—but what the city is and where it is.’

The day closed with a performance of Hu by Yara Mekawei, a composition that traces the entangled acoustic histories of Luxor Temple and Abu Haggag Mosque.

We’re enormously grateful to everyone who took part in these stimulating conversations and interventions across the three days. Warmest thanks to co-organisers Dahlia Borsche, Sebastian Dürer and Brett Mommersteeg, and to everyone who contributed to ENERGIES.

Photos by @hontoo9
#DanielFisher
@evatisnikar
#MarkCampbell
@inesweizman
@csm_ma_cities
@dianagrama
@lignesderre

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities

We’re happy to share a new publication, ‘Audible Cartographies of Power’ by Gascia Ouzounian, included in the latest issue of LA+: Interdisciplinary Journal of Landscape Architecture, on ‘SENSE’.

‘Audible Cartographies of Power’
Gascia Ouzounian
This article examines the complex relationship between sound and mapping, focusing on the tensions and possibilities that emerge when dynamic sonic environments—especially those of cities—are represented cartographically. Tracing the evolution of sound mapping from early 20th-century noise maps to contemporary interactive and AI-driven models, the article explores how sound maps have shifted from being tools of bureaucratic noise control to instruments that expose the uneven distribution of urban noise and its socio-political implications. It highlights recent projects that use sound mapping as a form of critical cartography—such as Allie Martin’s 'Mapping Go-Go Music in Washington, DC', A.J. Holmes’s The Social Housing Sonic Archive, and Lawrence Abu Hamdan and Earshot’s 'Air Pressure'—to reveal how sonic environments are shaped by and implicated in histories of racialized, classed, and gendered power. These projects reframe sound maps not simply as representations of acoustic phenomena but also as tools that render audible the pressures, violences, and contestations embedded in urban atmospheres. Ultimately, it proposes that such ‘audible cartographies of power’ make visible the politics of sonic space and reconfigure mapping itself as a way to apprehend the immaterial dimensions of governance, resistance, and everyday city life.

Thanks to Karen M’Closkey and the entire team at LA+, as well as the students at The University of Pennsylvania Stuart Weitzman School of Design, for their work on this beautiful issue.

You can download this article for free from our Research pages (link in bio):
https://www.soncities.org/current/audible-cartographies-of-power-article

For the full issue of LA+ SENSE, please visit: https://laplusjournal.com/21-SENSE

@laplusjournal
@karenmcloskey
@gasciaouzounian
@soncities