OPO Study guide 2019-2020 - KU Leuven Faculteit ...
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Study guide 2019-2020 International master in architecture Campus Brussel OPO part A – specifications of the project Semester Sem1 Startweek Week 3: introduction session Review week / sign in moments several Credits Titular Burak Pak Teachers Burak Pak – Caroline Claus Title: Sonic Urbanism - Studio_L28 Introduction: objectives and content Through theoretical work and networked practice, hereby harnessing the power of networked transdisciplinary collaboration to exchange knowledge through practice and nurturing the productive encounters between disciplines such as sound art, urbanism and urban architecture, we research the position and role of sound and sound arts in public place development along old industrial infrastructure space. It is a move away from existing disciplines at the model of(sonic)experience and the level of experimental methodology of practice. The objective is not to search for consensus but to explore a carefully designed disciplinary confrontation. The Vibrational Nexus Open space along the Western ring railway L28 has long been marginalized in Brussels planning processes[1].The development of public space on former railway land is relatively new here. Because of its natural, historical and ecological richness and the recent plans for development and transition[2,3, 4], the railway area of the L28 line can be considered as an excellent object for research into sound and urban public space development. To date, Brussels urbanism is little concerned about the quality of its public sonic environment. Within the context of public space development along the railway line L28, urban sound is dominantly discussed with a negative connotation. From the perspective of the project developers and authorities the health and peace of the future public space should be guaranteed. Conflicts over social noise nuisance are dealt with preventively and repressively in the short term, at street level[5].However, an artistic exploration of the sonic struggles from the perspectives of young people and professionals involved, opened up the debate towards more constructible sonic approaches[6,7]. Sound studies increasingly recognize(sonic)vibrations as a medium for community building and political action[8,9]. Recent research in urban sound studies focuses on how collective listening practices help to develop a critical ear for urban space, thus contributing to productive reflection in spatial planning and design processes[10,11]. The search for alternative strategies for engagement, critical and spatial design is supported and inspired by the work of artists and musicians making new aesthetic experiences and new ways of(physical)mobilization developments possible[12]. For his ecological theory on sonic warfare, philosopher, musician and label owner, Steve Goodman[13]points to the importance of understanding the agency of vibrational matter and the shortcoming of anthropocentric conceptions.
Accounts of the sonic in terms of conscious hearing or listening are troubled by Goodman in favour of an unconscious,
affective account of sound as material impact, hereby opening up to the inaudible frequencies. Much of Goodman’s work
on sonic warfare is given over to determining a politics of frequency through describing experimental practices that
intensify vibration, thereby unfolding the body onto a vibrational discontinuum that differentially traverses the media of
the earth, built environment, analogue and digital sound technologies, industrial oscillators, and the human body.
Goodman defines the vibrational nexus as each actual occasion of experience that populates the discontinuum, drawing
in an array of elements into its collective shiver. The conception of a differential ecology of vibrational effects leads him
towards a non- anthropocentric ontology of ubiquitous media, a topology in which every resonant surface is potentially a
host for contagious concepts, percepts, and affects.
Understanding the open space of an urban railway area in transition as a discontinuum of sonic and vibrational
possibilities determined by more actants than human sounds, encouraged a revision of dominant sonic approaches,
method and tools used in the urban design process as we know it. A decentering of the human sense and perspective
seems to have implications for the urban design it constrains. Building on Goodman’s theoretical work, we adopt
Augoyard and Henri Torgue’s sonicecology[14]for our practice-based research project on a critical sonic urbanism. From
a questioning of the ontological turn in sound studies our research project elaborates upon the following positions and
propositions:
● human and non-human actants co-constitute a discontinuum of sonic and vibrational possibilities,
● a critical sonic urbanism necessitates an a-disciplinary rethinking of sonic methods and forms,
● (sonic) vibrations as design material open up to a re-negotiation of urban transition.
Critical Spatial Practice
Working and reflecting in the bordering zones of sound art, urban architecture and urbanism, the research project evolved
to become a critical spatial practice that we gave the provisional name Studio_L28[15]. Studio_L28 is conceived as a
practice for counteracting situations in the L28 planning process where sonic awareness and sound design strategies are
limited to noise control. To break free from prevailing modes of urbanism and urban architecture which typically focus
on sonic risk and vibrational nuisance, we constitute an a-disciplinary working practice exploiting the productive
encounters between different disciplines.
Through interdisciplinary network practice we investigate how we as practitioners can learn from different disciplines,
and how we can formulate it into a new way of operating. While being about a network, Studio_L28 represents itself as a
networked practice in itself. Following Miessen’s idea of the crossbencher[16] Studio_L28 departs from the first person
singular: the individual practitioner. Building on the notion of self-responsibility our model of practice acknowledges an
interconnection between the designer, multiple disciplines, their languages and tools, the urban contexts and actors
involved. Design strategies that a practitioner employs we understand as a result of these interconnections. In Studio_L28
the practitioner combines the role of agent of change with the one of researcher and therefore commits her/himself to
reflexivity as she or he pays attention to the process of action and reflection as they unfold. Studio_L28 provides a testing
ground for phenomena, methods and tools we consider as elements of the transdisciplinary framework we deploy.
Artistic practices, concepts and aesthetics of making organized sound inform the construction of a language that seizes its
own methods and tools, and thereby manifests itself. Besides contributing to a new body of work, which assembles
around the notion of sonic urbanism[17], Studio_L28 explores how hyper contextual practice can inform existing
disciplines such as architecture and urbanism. In 2019 we situate the Masterstudio in the collective garden of Tour &
Taxis.
Fig.1. View from the Jardin Collectif de Tour & Taxis
Jardin Collectif de Tour & Taxis[18] was launched and installed by Le Début des Haricots, and since 2010 it has been
taken over by residents of the surrounding neighbourhoods. It is a collective garden and not individual plots, which
requires patience, dialogue and organization. Fruits, vegetables and spices are produced to feed the participating planters
and gardeners. The gardeners want to respect certain rules in the garden such as: organic gardening, no pesticides, saving
with natural resources such as water and electricity (rainwater harvesting from neighbours and dry toilets, no electricity),
no violence etc.... that they have explained in a charter. This natural garden aims to enrich biodiversity by promoting
local fauna and flora(in connection with the rest of the Tour et Taxis site). It is also a friendly pleasure garden where
residents meet and share their experiences.
Jardin Collectif de Tour & Taxis aims to stimulate interaction with the neighbourhood and this:
by having built a small amphitheatre (about 70 seats) which allows small artistic performances linked to the garden and
the district; thanks to the involvement of certain gardeners in local structures(neighbourhood committee, youth
animation service, local schools) who follow the evolution of the Tour &Taxis site.
Fig.2. Small amphitheatre Jardin Collectif de Tour & Taxis
Fig.3 Conversation in the Dome of Jardin Collectif de Tour & Taxis Fig.4&5. Technology revealing biodiversity in the night sky
Jardin Collectif de Tour & Taxis as urban wildlife zones creates a sonic variety, while aspects of the housing design and
surrounding vegetation blocks noise from busy roads nearby. It is a pleasant place to be. Community sounds have space
to be heard. The rest of Brussels is clearly audible, but distant.
Today the Jardin Collectif de Tour & Taxis can be seen a social and ecological systems at risk:
The garden is located on private land and can be maintained by agreement with the owner. The future development of the
Tour & Taxis project forms a potential threat. Recent interventions by the owner have lead to a loss of fauna and flora
and a loss of sonic variety. Also the withdrawal of gardeners can be interpret as a possible threat.
Living Lab
As the growing interest in the emerging auditory fields of bioacoustics and acoustic ecology continues to expand, we see
clear opportunities to harness architectural design approaches to develop accessible community engagement around the
creative and scientific possibilities of listening to the urban environment. In collaboration with Jardin Collectif de Tour
& Taxis and The Open Lab for Acoustic Monitoring[19],in 2019 we develop an interdisciplinary research project for the
exploration of the creative possibilities of bioacoustics and the potential of acoustic knowledge and practices for a critical
sonic architecture and urbanism. By setting up a Living Lab we aim to inspire community engagement through acoustic
monitoring, interactive listening, sonic cartography, performances, design exercises embedded in the design studio. It
combines research of sound as an artistic practice and architectural design research to further the understanding of
acoustic ecology and biodiversity in a context of planned urban development.
Program:
The KU Leuven Masterstudio_L28 takes seventeen weeks and is built around six strategies for facilitating sonic
urbanism as a critical spatial practice:
1. A series of class sessions
1. Soundwalks
1. Individual field sessions
1. Exercises in sonic representation
1. Interdisciplinary conversation
1. Synthetic assignment
In a series of eighteen class sessions, we introduce and discuss different sonic perspectives for a re-reading of existing
planning and design tools. This will facilitate an iterative design process. During the process we urge students to equip
themselves with the needed skills to redeploy techniques and invent novel cognitive and material tools.
Building on Guy Debord’s [20] theoretical work on drifting and Hildegard Westerkamp’s [21] definition, we will
organize a soundwalk for an explorative observation of the open railway space in relation to the subjective experience of
place, and the idea of moving narratives while walking and listening. In this phase we also offer exercises in voice
spatialization. The soundwalk is introduced as a tool for the training of a heightened listening awareness of urban context
and place, to explore the idea of a non-human experience of (sonic) vibrations, and to learn how to employ that into
design research.
The program encourages individual fieldwork on site. Field recording is explored as a step towards critical cartography.
Students are asked to search individually for the sonic qualities of an open railway space they were interested in. We
introduce you to different techniques for listening, recording and representing to grasp and map urban sonic quality.
Students will be asked to develop a graphical notation system which integrates the sonic, spatial and social characteristics
of the railway space of their choice.
For a training in the representation of urban sound we organize exercises on how to make a sonic image of an
architectural project. We discuss the idea of a sonic section as a tool for the systematic study of the sonic and spatial
qualities of an urban space and the option to work with the sonification of design ideas. Students are introduced to
various composition techniques coming from sound art, music and/or choreography and a series of computer-aided
simulation and sonification tools as possible resources for an advanced elaboration of their design project.
Through network practice from within Jardin Collectif de Tour & Taxis we facilitate an interdisciplinary conversation on
methods and tools applied in a context of sound art, urbanism, and urban activism. You are asked to exploit a
contradictory role compared to the widespread noise control practices, reformulated environments, perimeters andrelations of urban facts and to search for interactivity with (sonic) vibrational dynamics of Jardin Collectif de Tour &
Taxis.
For the final assignment we ask you to develop an urban architectural project consisting of experimental sonic spatial
forms with reference to sonic theory, histories of sound art and experimental music as a response to the needs coming
observed on site in relation to the project Collectif Garden Tour & Taxis. Each student is asked to represent an urban
sound strategy by use of graphical images, written text, and a sonic image or sound file. We are less interested in
formalistic urban architecture and more in the possibilities of intervening in the agency, the experience of formal-
mechanic dimensions of urban sonic vibrations as a source for a re-negotiating of urban transformation.
The studio concentrates less on formalistic urban architecture then on a possible intervening in the agency, the experience
of formal-mechanic dimensions of urban(sonic)vibrations as a source for a re- negotiating of urban transformation. By
re-negotiation we mean a re-purposition of sonic spatial relations that are capable of getting new socio-
(political)encounters off the ground. Rather than demanding students to use a ready-made formalistic approach to the
design process, the exercise is about the search for, and the amplification of tensions between intuitive, sensible and
semantic components of urban sound and the disinterested, de-semantified and purely formal elements of urban
architecture or urban design on the other. Urban architecture is understood as an articulation of these relations through
the development of a method and tools for urban architectural design, hereby facilitating a possible(re-)negotiating urban
transition manifested in new sonic forms.
Fig.6 Design for a potential arena for Westplaats by Leonie Van BellingenFig.7 Study of sonic effects among different plants by Sarah Thorisaen
Fig.8 Sonic sections by Alex Auris Gonzales
Program: (draft) timing and organization
Studio hours Brussels: Tuesday 9h-13h & 14h-17h30
semester 3, Week 3: announcement of frameworks by academic promotors
semester 3, Week 7: in situ research week
semester 3, Weeks 10, 11, 12 and 14: research and design sessions (half day a week)semester 4, Week 1: presentations by each student of initial outcomes: results relevant case studies, literature review, data
mining, context analysis, concept and thematical approach and first proposal for architectural intervention
semester 4, Week 2: urban strategy and linked architectural intervention
semester 4, Week 3: urban strategy and linked architectural intervention
semester 4, Week 4: urban strategy and linked architectural intervention
semester 4, Week 5: development of architectural intervention
semester 4, Week 6: midterm presentation (internal jury)
semester 4, Week 7: clash moment: international midterm presentations BXL
semester 4, Week 8: development of architectural intervention
semester 4, Week 9: development of architectural intervention
semester 4, Week 10: development of architectural intervention
semester 4, Week 11: development of architectural intervention
semester 4, Week 12: delivery draft reflection paper
semester 4, Week 13: architectural intervention and review urban strategy
semester 4, Week 14: pre-jury (intern)
semester 4, Week 15: final development of architectural intervention
semester 4, Week 16: final development of architectural intervention, presentation
semester 4, Week 17: final jury (extern)
Study material:
A collection of heterogeneous articles, books and websites, recordings and music to draw attention towards the
experience of (sonic) vibrations in a position to activate independent processes of territorial renewal:
1. Mabilde, J., Vanempten, E., Devoldere, S., and Oosterlynck, C.(Eds.)2016. Metropolitan Landscapes: Open
Ruimte als Basis voor Stedelijke Ontwikkeling – Espace Ouvert, Base de Développement Urbain. Merelbeke:
Stevens Print.
2. “Het Groene Netwerk | Leefmilieu Brussel."(2017),https://leefmilieu.brussels/groen-netwerk. Accessed 24 Sep.
2018.
3. Kandjee, T., Pferdmenges, P. and Casabella, N.(2017)‘Contratde Rénovation Urbaine - Gare de L’Ouest -
Stadsvernieuwingscontract Weststation’. Taktyk - Alive Architecture - 1010au. Available
at:http://wijken.brussels/2/.
4. ADT - ATO(EQUIPEGARE DE L’OUEST). 2015. Etude de Définition Gare de L’Ouest. Retrieved from:
http://www.adt-ato.brussels/fr/connaissance-territoriale/diagnostics-territoriaux/gare-de-l%E2%80%99ouest.
5. Plan Canal in Brussels: Belgium vs Molenbeek(2016)openDemocracy. Available at:
https://www.opendemocracy.net/can-europe-make-it/plan-canal-in-brussels-belgium-vs-
molenbeek(Accessed:20 September 2018).
6. Wz(2019)Ils est balaise. Available at: https://www.youtube.com/watch?v=_pdQCM4v7zg.
7. Eckhardt, J.(2016)Residency Report: Peter Cusack & Caroline Claus. Available at:
http://soccos.eu/blog/detail/residency-report-caroline-claus-and-peter-cusack.
8. Farinati, L., Firt, C.(2017).The force of Listening. London: Errant Bodies Press.
9. LaBelle, B.(2018).Sonic Agency: Sound and Emergent Forms of Resistance. London: Goldsmiths Press, 2018.
10. Fluegge, E.(2017).Soundly Planning: practically listening to(Belfast)sound spaces. Paper Presented at Invisible
Places 2017, Azores, Portugal.
11. Claus C., Pak B.(2018).Towards Urban Sound Design for Transitional Public Railway Park/Places: Sonic
Strategies for Engagement, Critical and Spatial Design. In: CA2RE: Conference For Artistic and
Architectural(Doctoral)Research Proceedings.(108-119).Presented at the CA2RE: Conference For Artistic and
Architectural(Doctoral) Research, Aarhus School of Architecture, 13 Apr 2018-16 Apr 2018. Aarhus. ISBN:
978- 87-90979-78-2.
12. Pascual, M.(2017).Mark Bain – Listen to the Wall. Metal Magazine. Retrieved
fromhttps://metalmagazine.eu/es/post/interview/mark-bain-listen-to-the-wall
13. Goodman, Steve.(2010).Sonic Warfare. Cambridge, Mass: MIT Press.
14. Augoyard, J.F., and Torgue, H.(2005).Sonic Experience. Montréal: McGill-Queen's University Press.
15. Claus, C.(2018).Studio_L28: Sonic Perspectives on Urbanism. Brussels. Q-O2.
16. Miessen, M.(2017).Crossbenching : towards a proactive mode of participation as a Critical Spatial Practice.
Doctoral thesis, Goldsmiths, University of London.
17. "Crafting a sonic urbanism – Theatrum Mundi." 26 Sep. 2018, http://theatrum-mundi.org/programme/crafting-a-
sonic-urbanism/. Accessed 10 Feb. 2019.18. Jardin collectif de Tour et Taxis. https://environnement.brussels/fiche/jardin-collectif-de-tour-et-taxis. Accessed
10 March 2019.
19. Open Lab for Bio Acoustics. m.me/Openlabforbioacoustics. Accessed 10 March 2019.
20. Debord, G. (1958). Theory of the dérive. In K. Knabb (Ed. & Trans.), (2006), Situationist International anthology (pp. 62–
66). Berkeley, CA: Bureau of Public Secrets.
21. Westerkamp, H. (2007). Soundwalking. In A. Carlyle (ed.) Autumn Leaves: Sound and the Environment in Artistic Practice.
Paris: Association Double-Entendre.
22. Blesser, B. (2007). Spaces Speak, Are You Listening? Experiencing Aural Architecture. The Journal of the Acoustical
Society of America., 121(4), 1820-1821.
Method of evaluation
check ECTS sheet
Criteria of evaluation
check ECTS sheet
Learning outcomes
check ECTS sheet
Indicators of behavior
- 4A1 The student is able to act methodologically throughout the designing process in an independent way: the
student demonstrates the development of own methods and regularly refers to these during the desk
crits and presentations in the design studio
- 3A1 The student is able to develop a critical argumentation on the position of his/her design project within the
international architectural debate: the student shows that he/she critically reflects upon the method en
results of the architectural project and builds up a proper argument and own discourse that relates to
current theories and practces in architecture, especially related to productive streetscapes
- 4A3 The student is able to establish his/her own research or project strategy: the student shows that he/she
can unfold a coherent strategy for research and design and explicitates this during the working sessions
and presentations. Reading relevant articles or books, visiting and studing reference projects, as well as
conducting interviews or discussions with experts or stakeholders is considered essential.
- 3C1 The student is able to critically frame and place a complex architectural design: the student develops and
presents the project and reflection paper in a way that the team of academic promotors and experts can
detect a broad but precise framework that shows the integrity and profound expertise of the student, who
shows at all moments to be able to simultaneously deal with spatial qualities at different levels, multiple
programmes and uses, as well as the needed theoretical and conceptual references and technical aspects
of the project.
- 3C2 The student is able to reflect on contemporary and innovative architectural-theoretical perspectives: the
student shows the ability to write or graphically represent a broad critical reflection upon the project and
refers to this in all discussions and presentations
- 5A2 The student is able to develop a research based design project: the student shows a coherent linkbetween research and design and does not consider research as a strictly preliminary theoretical phase that is disconnected from the actual proposal. The student shows the ability to explore multiple options alter which decisions are made on a referential and critical basis and personal interest and expertise. - 4B2 The student is able to develop a relevant design, taking into account quality of comfort and sustainability: the students shows ability and special interest in sustainability and resilient strategies while developing the project and the final project is coherent with it (including building technology, sequence of spaces and their intended or possible uses). Output demands check ECTS sheet more details to be announced during semester 4
International master in architecture – fase2
Study guide OPO 42 master dissertation
part B – images
International master in architecture – fase2
Study guide OPO 42 master dissertation
part C – excursions and work on location
Excursions related to the project:
Location date (dd.mm.yyyy) or Curriculum
Related (C) or
timing (dd.mm.yyyy - dd.mm.yyyy) Optional (O)
In Situ Research Week
Work on location for this project:
Location date (dd.mm.yyyy) or
timing (dd.mm.yyyy - dd.mm.yyyy)
In Situ Research Week
Week 7, nov 2015International master in architecture – fase2
Study guide OPO 42 master dissertation
Part D : evaluation sheet for this project
You can use the evaluation sheet as a tool. It helps the student with the evolution of his work.
Name student
Project
Result (circle a figure) 1 2 3 4 5 6 7 8 9 10
11 12 13 14 15 16 17 18 19 20
Type evaluation: ……….?
Evaluation form :……….?
(check ECTS-sheet)
Report based on the learning results (ECTS) and the indicators of behavior.
- LR1
Indicator of behavior
circle : -- - +/- + ++
Comment :
- LR2
Indicator of behavior
circle : -- - +/- + ++
Comment :
- LR3
Indicator of behavior
circle : -- - +/- + ++
Comment :
- LR4
Indicator of behavior
circle : -- - +/- + ++
Comment :
- LR5
Indicator of behavior
circle : -- - +/- + ++
Comment :…… Report : Documents to be handed in Check receival Name teacher Date
Praktische info voor docenten aanvragen gastsprekers Invitation Johann Diedrick Externe gastsprekers kunnen in het kader van een opdracht worden uitgenodigd op basis van een uurtarief (45 euro/uur) + vergoeding reisonkosten. Dit gebeurt op aanvraag bij de programmadirecteur. Na goedkeuring wordt er een digitale aanvraag ingediend via https://arch.kuleuven.be/intranet/Studiereizen- gastsprekers/gastspreker. Verdere opvolging van de flow gebeurt door Renke Bouwen. Alle info op https://arch.kuleuven.be/intranet/Studiereizen-gastsprekers/aanvraag-gastspreker-faculteit- architectuur. eventplanner Workshop On Site Presentation / Discussion Venice Students. Events in het kader van een opdracht (tentoonstelling/avondactiviteit/workshop/…) vraag je aan per mail bij Renke Bouwen (renke.bouwen@kuleuven.be). Ook voor het huren van lokalen op externe locatie moet je bij Renke Bouwen zijn. Leslokalen boeken op de campussen gebeurt bij Anke Pille (anke.pille@kuleuven.be). Vergaderlokalen boek je op het onthaal (arch.gent@kuleuven.be of arch.brussel@kuleuven.be). catering Catering Event Voor catering tijdens vergaderingen of evenementen: check onze policy! https://arch.kuleuven.be/intranet/interne-werking/operationele-procedures. andere personeelsprocedures Woon-werk/afwezigheid etc. raadpleeg je hier https://arch.kuleuven.be/intranet/interne- werking/personeelsprocedures. Travelling Caroline/Burak to Venice verplaatsingen gelinkt aan deze opdracht Soundwalk – Field Recording - Presentation (Brussels) Indien je als docent aanduidt dat een uitstap/reis verplicht is, beschouwt de faculteit en de studentenvoorzieningen de uitstap als curriculum-gebonden. Indien je aanduidt dat een uitstap/reis facultatief is beschouwt de school en de studentenvoorzieningen de uitstap als niet curriculum-gebonden. Niet curriculum-gebonden betekent niet dat de uitstap niet toepasselijk is. Deelnemen is echter geen absolute noodzaak om de opdracht te kunnen uitvoeren. Noteer basisinformatie m.b.t. de studiereis of uitstap in de atelierfiche zodat de student zich hierop kan voorbereiden.
Neem ook tijdig contact op met Renke Bouwen om de nodige informatie te verkrijgen over verzekering, terugbetaling van de kosten voor de docenten, betalingen, enzovoort. Meer info zie https://arch.kuleuven.be/intranet/Studiereizen-gastsprekers/procedure-studiereizen-en-uitstappen. Vergeet de reis of uitstap niet te registreren in KU Loket.
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