音響沙發(fā)，紐倫堡，德國

建筑設(shè)計：Eyland 07, TunedCityArchitects: Eyland 07, TunedCity

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音響沙發(fā)，紐倫堡，德國

建筑設(shè)計：Eyland 07, TunedCity
Architects: Eyland 07, TunedCity

Sonic Sofa, Nuremberg, Germany, 2011

音響沙發(fā)是為一個跨學(xué)科項目“穆根霍夫之聲——音樂之城紐倫堡”而創(chuàng)作的。項目的目標是以聲學(xué)手段對前通用電氣和凱勒廠區(qū)的工業(yè)荒地、廢棄建筑、交通干道以及原工人宿舍進行探索。公共空間中的工作營和表演將有助于人們分析和理解其中的形勢，從而支持可持續(xù)的改善工作。項目所在街區(qū)的人們都會參與這一過程。

音響沙發(fā)是一件多功能作品。它同時也是城市街道的家具、城市的變音器和聲音的綠洲。音響沙發(fā)的最佳使用場地是交通量大、受聲污染影響的街道和其他噪音嚴重的地方。音響沙發(fā)是讓刺耳的噪音變得悅耳的變音器，這種樂器能過濾并奏出和諧的交通之聲。

這個蜂窩狀的物體由271根PVC排水管制成，用有彈性的粘接劑連成一體。管子的直徑是100mm，長度580～1960mm不等。由于長度不一，蜂窩的體形是內(nèi)凹的。人們可以坐在里面，放松地享受音樂。

長短不一的管子將傳入的噪音轉(zhuǎn)換之后，就會成為一種全新的城市音樂。噪音在管中不斷反射，通過回聲形成不同的和諧音調(diào)，如：f, g, a, h, des', d', g', h', d''等。一副耳機和混音器就是這即興演奏的樂器，有如一架管風琴。

街區(qū)的居民和路人到這里會停下腳步，坐下來演奏這件樂器，或是俯耳聆聽管中被轉(zhuǎn)化的聲音。而后，人們會開始談?wù)摳髯缘捏w驗以及街區(qū)總體的聲環(huán)境。所以音響沙發(fā)就是一個社會平臺、即興的聚會點和討論城市空間品質(zhì)的元素。它代表著一種激發(fā)居民思考環(huán)境和街區(qū)的新途徑。□（尚晉 譯）

1 音響沙發(fā)——建造概念、調(diào)音與音譜/Sonic sofa-construction concept, tuning and tonal spectrum

項目信息/Credits and Data

客戶/Client：德國紐倫堡市文化部/Department of Culture of the City of Nuremberg in Germany

設(shè)計團隊/Design Team：建筑、城市研究、設(shè)計/Architecture, urban research, design: Eyland 07 （René Rissland, Juergen Lehmeier）; TunedCity （Carsten Stabenow）

造價/Cost: €8000（含實物贊助/incl. material sponsorings）

設(shè)計時間/Design Period: 2011

使用時間/Use Period: 2011-2015

攝影/Photos: Eyland 07, TunedCity

2 等待噪聲——一些管可以通過添加排水管的方式延長/ Waiting for noise-several tubes can be extended by additional drain pipes

3 蜂窩狀形體的凹面邀請你參與其中/The concave side of the comb-shaped volume invites you to interact

Sonic Sofa was created for the interdisciplinary project "Sounds of Muggenhof - tuned city Nürnberg". The aim of the project was to explore the area of the former AEG and Quelle with its industrial wastelands, abandoned buildings, traffic arteries and existing workers housing estates in an acoustical way. Workshops and performative interventions in public space should help to analyze and understand the situation with an input for sustaniable improvement. The people of the quarter should participate in this process.

Sonic sofa is a multifunctional object. It's at the same time urban street furniture, transformer of urban sounds and acoustic oasis. The best place for sonic sofa is near sound polluted and highly frequented streets and other places of unpleasant noise. Sonic sofa effectively transforms bad noise into good noise, a kind of instrument fi ltering and responding to tra ffi c sound in a harmonious way.

The comb-shaped object is made of 271 PVC drain. They have a diameter of 100mm and lengths ranging from 580mm up to 1960mm. The pipes are connected by elastic adhesive agent. Because of different length of the pipes, the volume of the comb is concave. People can sit inside to relax and listen.

The pipes of di ff erent lengths convert incoming noises with new acoustic quality. The noise reflects inside the tubes and is changed by resonation to di ff erent harmonic tonalities: f, g, a, h, des', d', g', h', d'' etc. A set of microphones and a mixer enable an instrumental improvisation, like playing an organ.

For people who visit the quarter and those who happen to stop by, they may sit down and play the instrument or lean their ears directly against the pipes to hear the transformed sounds. They often start to discuss about the experience and the general acoustic situation of their quarter. Thereby Sonic Sofa works as a social platform and a temporary meeting place with the potential to improve the qualities of urban space. It represents an alternative way to encourage inhabitants to think about the conditions of their surroundings and neighborhoods. □

4 交通噪音混亂中的聲音綠洲/An acoustic oasis within the chaos of tra ffi c noise

評論

邁克爾·貝內(nèi)迪克特：2011年，弗洛里安·蒂爾克和勒內(nèi)·里斯蘭在德克薩斯州奧斯汀巴斯音樂廳，用4層高的大堂內(nèi)的金屬扶手進行演奏，震撼了全場聽眾。hEAR Touch LISTEN是當時那首作品的名字。演出時由音樂家和作曲大師伊萊·菲爾茲特爾通過筆記本電腦實時控制，當金屬與其自身頻率共振時，通過接觸式擴音器和聲音驅(qū)動程序形成的反饋環(huán)路，聲音得以實現(xiàn)所有音高和音長。聽眾感知到了空間里的音樂，而不再注意外形尺寸，用他們的頭骨、肘部和手接觸欄桿以獲得感受?！耙繇懮嘲l(fā)”則更易于接近。它具有可棲居性，不僅像排笛或者管風琴那樣捕捉街道上的氣流，同時捕捉在氣流中孕育而生的聲音。再一次地，共鳴——事物中已然存在的音樂，已然是事物本身的音樂。（王欣欣 譯）殷漪：從本質(zhì)上說，音響沙發(fā)是一個可移動的聲音效果器。類似的無人演奏或者自動演奏的樂器大量出現(xiàn)在近15年歐美的各種媒體藝術(shù)展中，這種創(chuàng)作方式可以一直追溯到20世紀早期的動態(tài)藝術(shù)。

音響沙發(fā)通過精心的設(shè)計建立起與音律學(xué)的聯(lián)系，進而在音樂、私人空間、城市聲音之間建立某種聯(lián)系，這些聯(lián)系又匯集到參與者。音響沙發(fā)的突破在于改變了傳統(tǒng)展示空間內(nèi)觀眾與樂器、裝置之間的觀賞關(guān)系，將觀眾變?yōu)閰⑴c者，改變了人們聆聽城市的方式和聆聽時的身體姿態(tài)。

但對于音響沙發(fā)試圖把城市中的聲音甚至噪音在聽覺層面和諧化，我持保留意見。因為這對聲音做出的是簡單的美學(xué)或經(jīng)濟價值判斷，其背后是一種具有唯一性的二元對立邏輯。這恰恰反映出對今天城市聲音規(guī)劃控制政策起到影響作用的技術(shù)精英們的某種普遍觀點和思路。

Comments

Michael Benedikt: In 2011, Florian Tuerke and Rene Rissland "electrified" the audience in Austin Texas with a performance of the metal handrails of the fourlf oor-high lobby of the Bass Concert Hall Lobby. hEAR Touch LISTEN was the name of piece. Sound rang from all heights and widths as metal resonated to its own inner frequencies through a feedback loop of contact microphones and sound drivers, controlled in real time at a laptop by master musician and composer Eli Fieldsteel. Audience heard the music in the space, inadvertent in dimensions, and felt it through their skulls, elbows, and hands on the rails. Sonic Sofa is literally more approachable. Indeed it is inhabitable, catching not just the wind of the street like a panpipe or organ, but the sounds borne on the wind. Resonance, once again: the music that things already contain, that they already "are". YIN Yi: Essentially, Sofa Sonic is a mobile sound e ff ect device. Similar devices such as automatically-playing musical instruments have been seen in many media art exhibitions in Europe and America during the past 15 years. Such creation can be traced back to Kinetic Art in the early 20th Century.

Through elaborate design, Sonic Sofa has established the connection with musical temperament, and linked up music with the sounds of both private and urban space, which all converge on the participants. The breakthrough of Sofa Sonic consists in its alteration of the audience-instruments/ installations relationship in a traditional display space: here the audience become participants, hence the changes in the manners and postures with which they listen to the sound of city.

Still, I have reservation regarding Sofa Sonic's attempt to harmonize the sounds, even noises, of the city, as it tends to be an oversimpli fi ed aesthetic/ economic value judgment of sound with an underlying logic of binary opposition, which precisely reflects the mentality of those technical elites who exercise influence on the control policy of the city's sound planning.

5 孩子們在玩，傾聽著他們周邊的噪聲轉(zhuǎn)化后的聲音/Kids playing around and listening to the transformed noises of their neighbourhood

6 調(diào)音器與耳機——隨時準備進行一場樂器即興創(chuàng)作/Mixer and headphones-ready for an instrumental improvisation

7 管中的麥克風細部/Detail of microphone inside the tube