Re-experience the City of Thessaloniki through Soundscapes.

Aimilia Karapostoli, PhD student school of Architecture, Aristotle University of Thessaloniki, Thessaloniki, Greece, emilie1@arch.auth.gr ; Nikolaos P. Tsinikas, professor school of Architecture, Aristotle University of Thessaloniki, Thessaloniki, Greece. Summary

One of the biggest problems in Greek contemporary cities is environmental noise. According to the numerous Greek and European laws, the problem can be solved by defensive strategies like soundproofing the dwelling units and by restraining the noise sources. But everyday experience proved the opposite. The proposal supports that it is possible to use sound on sound in order to build a better habitation and create a better sonic environment, not only by distributing speakers and adding sound, but also by using architectural design that relies on all the senses. Moreover, the proposal claims that temporary architectural composition is dominated by the visual realm and that the changing sonic environment can be used as a means of architectural intervention, for sound is the cheapest material. In order to approach the previous problem, the notion of the city is confronted as a work of art, lived space as a poetic image and architectural existential space as cinematography. There is a plethora of architects, musicians, cinematographers and artists that have studied the urban space in depth and proposed numerous solutions for a better urban living. The proposition approaches the problem of environmental noise as something that affects the core of today’s architectural theory. The ideas of soundscape, sonic effect and sonic art will be used in order to construct a number of solutions and understand the issue of the problem in depth. The proposal shapes a framework, regarding sonic experience, in order to change how the city is perceived, based on examples and case studies that have been realized or not. So an architectural syntax is being manufactured for wide application. Most of the examples are designed especially for the city of Thessaloniki, mainly for temporal purposes. There is some evidence of the impact of the proposed design solutions but many of them have not been realized so their effect is based mainly on logical argumentation. Introduction

Zvi Hecker in his article “Architecture stripped of its ornate garment” [1], blamed today’s architecture for being unreliable, unethical, illogical and not being concerned about global poverty. The more excessive the architecture form, the more obscure and environmentally irresponsible were the financial investments behind it. Furthermore, he believed that as the crisis of 1920s wiped out the ostentatious ornaments of late nineteenth century classicism, the slowdown of building construction and the emergence of another aesthetic reality would provide a fertile ground for the germination of new ideas.

Returning to Greece’s example for the present time being, according to the Hellenic Statistical Authority, the construction activity have been reduced to very low levels, similar to those of 1967 [2]. One of the main driving forces of the Greek economy has been inactive for over five years. The professionals of the field have been facing a major problem, not being able to earn their living by practicing their expertise. In contrast, a new and welcomed, “green energy – market” has been risen in order to absorb the experts of the build environment. The mandatory issue of energy performance certificates for all the buildings [3] in order to be sold or let, and the mandatory issue of energy studies for the creation of the new ones are some of the products of this new trend concerning the Greek built environment.

Interestingly enough, one of the facts that you are asked to evaluate as an energy

inspector, is the acoustic comfort of a building or a part of it, according to the European technical instruction EN 15251:2007. Specifically you are asked to check whether specific indoor system criteria are being met or not (figure 1). Therefore, it is clear for the general European Directives, that there is an inextricable relation between an acceptable built environment and the sonic environment that ensure the well-being of its inhabitants.

Figure 1. First page of the Energy Performance Certificate. Acoustic comfort of a building,

highlighted in red, is one of the four criteria you are asked to evaluate in order to issue an energy performance certificate for a building or a part of it.

Furthermore, Greek architects have started to take a more ethical approach towards their

realized built products. They have become aware that they are responsible for the overall life of a building not only regarding its service equipment and systems but also regarding its shell, trying to avoid wasteful construction. Nonetheless, as Franco La Cecla have stated in the past, “…to be an architect you have to stop working only in the studio and do some fieldwork” [4]. He also supported the importance of an architect studying the humanities, and to use tools like observation, analysis and study of the social impact of the realized architectural designs.

The writers believe that the interest towards the sonic environment, a field that was of a major concern especially to the scholars in the humanities, marks a new period in the studies of architecture. Students of architecture have started again to study the built environment outside the studio, do analysis by the way of a flâneurie [5] and try to understand the urban environment by using the five sense sensorium [6].

Finally, looking through the current Greek architectural production and mainly the architectural competitions, being in the edge of the architectural innovation, the writers marked the following common points in the majority of them. Most of competitions aimed to; the environmental upgrade of an area, the creation of urban landmarks in order to renew the architectural identity of a place [7] or the creation of certain individual buildings. Hence, the need for an environmental upgrade and the creation of a sense of architectural identity in many urban areas, are vital to the Greek architectural reality.

The writers strongly believe that the use of sound as an architectural material is possible. Reference has been already made about the inextricable relationship between acoustic comfort and environmental upgrade of an area or a building. And what is more, the professionals of sound and space as well as a majority of artists, have already studied the inextricable relation between architectural and sonic identity of a place.

As a conclusion the writers would like to raise the following questions; Is it possible to give the lost architectural identity of certain areas in modern Greek cities by using sound? Is it possible to environmentally upgrade the built environment by using sound? Is it possible to use sound art for the sake of a better habitation in the city? Is it possible to create a new “sonic market” for the professionals of sound and space? Body 1. Problem statement 1.1 Greek legislation

The Greek legislation concerning sound is mainly about noise, as unwanted sound, and it is provided by the Greek building regulations, specifically in the paragraph 12 [8]. Additionally, there is a plethora of laws and decrees [9], regarding mostly working places in order to protect the employees from health threatening circumstances. Unlike many European and American cities, where the problem of noise control lies in the restriction of municipalities, Greece has not proceed yet to these kind of solutions. The relatively new architecture of government and decentralized administration, program “Kallikratis”, is expected to redefine the boundaries of self-government units and give more power to regions and municipalities [10].

The example of New York City noise code [11] gives a clear insight into the importance of sound, regarding environmental protection and upgrade. Moreover, the creation of High Line Park in New York manufactured an example of a successful restoration of an old useless elevated train line. The realization of a public park with all sorts of artistic happenings and installations in cooperation with numerous departments of the city [12], consisted a successful model for the cultural and environmental upgrade of public space regarding, in our case, the sound environment. There are numerous approaches towards the analysis and the creation of healthy sonic environments, which are being used by the writers in the case studies; some of them are presented in the following paragraphs. 2. Method used 2.1 The acoustic ecology approach

The world forum of acoustic ecology WFAE, founded in 1993, is an organization that is affiliated with a numerous national organizations and individuals in Europe, North America, Japan, and Australia, which share a common concern about the state of the world's soundscapes. WFAE members represent a multi-disciplinary spectrum of individuals engaged in the study of the social, cultural and ecological aspects of the sonic environment [13]. The WFAE’s mission is to educate, research, study, protect, preserve, design and create healthy soundscapes and acoustically balanced sonic environments.

One pillar of the WFAE is the notion of soundscape [14], which was invented by Murray Schaffer, a Canadian researcher and composer, in his book “The Soundscape. Our Sonic Environment and the Tuning of the World” in 1977. Schaffer has a positive approach towards the sounds of the environment, he has been against the postindustrial soundscapes that have managed to prevail in the contemporary cities and he has been in favor of rural and Hi-Fi soundscapes [15]. A plethora of methodologies, tools and projects, regarding sound analysis and acoustic design, have been raised worldwide since then, having the concept of the preservation and the restoration of the natural and rural soundscape as their main purpose.

2.2 The soundscape ecology approach Following the same pattern with acoustic ecology, the soundscape ecology is a relatively new subfield of ecology, which studies the sound within a certain landscape and its effects on organisms. It can be described by “the working definition as all sounds, those of biophony, geophony, and anthrophony, emanating from a given landscape to create unique acoustical patterns across a variety of spatial and temporal scales” [16]. Thus the main difference with acoustic ecology is that the previous largely emphasizes human-centered inquiry in contrast to the

latter that is in favor of a larger socioecological system approach. 2.3 The approach of the Cresson Institute

The Centre for research in Sonic Space and Urban Environment (Cresson) is located at the Graduate School of Architecture in Grenoble since 1979 [17]. It is characteristic of Cresson’s approach “to compare the physical characteristics of urban settings with the perceptual awareness of its inhabitants and users. This attention to ear witness accounts in concrete contexts has given their work a phenomenological cast and led to an emphasis on exploring the dynamic interaction between the physical environment, the socio-cultural milieu, and the individual listener.” [18].

Over the past thirty years, Cresson researchers have developed the concept of sonic effect [19], which analyzes the experience of everyday sounds in the context of architectural and urban spaces. The role of sonic effect is to complete the two existing, interdisciplinary tools for sound analysis; Pierre Schaeffer’s “sound object” (l’ objet sonore) [20] and Murray Schaffer’s “soundscape” [21]. The different of this approach towards the acoustic ecology approach lies in a more structural and urban manner dealing with noise not as unwanted sound. 3. Application – case studies

3.1 The case study of Thessaloniki – framework shaping a city as a work of art In his inquiry for everyday life in the modern world, Henri Lefevre was very skeptical

towards the development of urbanization and the economic expansion of the 20 th century France. He believed towards a permanent cultural revolution, “Let everyday life become a work of art! Let every technical means be employed for the transformation of everyday life” [22]. He supported culture as a means to direct everyday experience and transform existence. In this paper, the writers endorse the same point of view with Henri Lefevre and confront Thessaloniki and its sonic environment as an artistic field.

Nevertheless, Gaston Bachelard, a known French philosopher, was the first who applied in his book “The poetics of space” [23] the method of phenomenology in architecture, based his analysis on lived experience of architecture in contrary to theoretical constructions. His book constitutes one of the basics in the suggested bibliographies of sound art studies and architecture studies, manufacturing the first approach of the deep connection between sound and space especially for non-professionals of sound and space. The writers were induced by the views of Gaston Bachelard and based their sound - architectural suggestions mainly on the experience of potential listeners and users creating imaginary structures.

Moreover, Juhani Pallasmaa, a Finnish architect, thinker and writer of “The Eyes of the Skin – Architecture and the Senses”, a book that became a classic of architectural theory all over the world, has been critical towards the domination of the visual realm at the expense of the other senses in today's architectural culture and theory [24]. The writers stand by Juhani Pallasmaa' s thesis and support that their suggestions would shape an architectural framework that would highlight the acoustic sensory realm, enrich the spatial experience of the built environment and restore architecture's ability to inspire and transform the urban everyday experience.

Finally, the writers would like to emphasize the rise of sound art [25], a term that has been used to describe a group of art practices that consider the medium of sound as their predominant focus, especially since the 1980’s. Sound art, which belongs in an exhibition situation rather than a performance situation, has an interdisciplinary character which includes scientific subjects like those of the acoustics, psychoacoustics, audio media technology, video, sculpture, environmental soundscapes, etc. The writers embrace this new art form, base their suggestions in the same context as sound art and are in favor of using sound on sound for a better sonic environment [26].

3.2 Sound|Architectural case studies regarding the city of Thessaloniki The writers would present numerous design proposals, some of them were realized some not, that were made in order to chance the soundscape and create an expected result concerning different situations (celebrations, anniversaries, festivals, art exhibitions, etc.). The writers have studied sound in relation to the field of architecture using different methods and proposed

numerous projects and activities in order to fulfill the expectations of the party in charge. 3.2.1 Sound installations regarding historical events in open public spaces – not realized. a. A celebration for the one hundred years since the liberation of Thessaloniki by A.U.Th. A celebration for the one hundred years since the liberation of the city took place in Thessaloniki. The writers proposed an artistic happening to the authorities of the Aristotle University of Thessaloniki. The proposal created a path in the standard area of intervention (Dim. Gounari pedestrian road, figure 2), which included a series of performances, installations, screenings and presentations. Central theme of the proposal and all the actions was the dominant use of sound. Professors and students from different schools (architecture, musicology, journalism, film studies) would approach with an interdisciplinary way the history of the city and its current situation. More specifically, they would experiment with topics such as creating lost historical soundscapes, relations between music and architecture, modern musical compositions by artists of the city, dialogue between past and present, soundwalks, etc. The area of intervention would be the basis for an urban experiment, a sound garden, where the action would highlight the region's problems like noise and microclimate, and additionally would suggest ephemeral and permanent solutions. The result would set a celebration of the city, the rich sonic environment and highlight many hidden aspects.

Figure 2. Proposal for the celebration for the one hundred years since the liberation of

Thessaloniki for A.U.Th. b. Proposals for the XV Biennale de la Mediterranean – A. Karapostoli participation for the section of applied arts.

The theme of the XV Biennale de la Mediterranean - Thessaloniki / Rome 2011 was Symbiosis? [27]. Three design proposals were made by one of the writers A. Karapostoli, trying to find an answer to the question of Symbiosis by changing certain sonic aspects of three different sites in Thessaloniki. The project was an attempt to create imaginary spaces by changing the sonic environment of a site in order to fabricate different places virtually.

The first design proposal (figure 3) took place in Dikastirion square, a well-known square in the center of Thessaloniki, where immigrants and protestors used to concentrate. In large, open public spaces, where there are no obstacles, sound can be perceived directly. The proposal was inspired by the political developments of the Mediterranean and the revival of the public sphere and space. People were gathering, protesting in squares all over the world. Using real time sound transmitters from squares all over Mediterranean, you could sonically experience what is happening there in real time. The proposed squares that would be listened in Dikastirion square were: piazza Navona in Rome, Puerta del Sol in Madrid, El Tahrir square in Cairo, Taksim square in Instanbul and Mohamed V square in Casablanca. The selected public places were not permanent and the microphones can be relocated depending on the latest political developments.

Figure 3. First design proposal for Dikastirion Square in Thessaloniki.

The second proposals was based on the creation of a new, relaxing soundscape involving sounds from distant landscapes in Africa, as a way of introducing something unfamiliar to the locals by enriching their life and make them open to other cultures. The project was consisted of hidden sound installations which transmit sounds from Algeria (blowing wind of the Algerian desert), Morocco (ocean waves crashing on the Moroccan coast), Kenya (animals of the jungles in Kenya) and Tunisia (the camp fire in Sahara). The selection of the countries was based upon field research on the site, the most common countries where immigrants came from were selected. The second proposal took place in eastern Thessaloniki, in the center of Kalamaria and more specific in the pedestrian road of Komninon. A site famous for its coffee shops, commercial activity and restaurants. There is a lot of noise in the site creating an unfriendly ambiance. Nowadays, there is a big number of African immigrants who usually sell cd’s, dvd's, etc. and they are treated as invisible figures by the local inhabitants. This space is not as open as Dikastirion square, so sound can be perceived directly or reflected on the near buildings.

Figure 4. Second design proposal for Komnimon Pedestrian road in Thessaloniki.

c. A. Karapostoli and A. Stogiannis participation with distinction in small scale architectural competition “Creation and upgrade of public and shared spaces and creation of landmarks in the urban area of Thessaloniki”. The proposal for the architectural competition [28] was based on recycling, reusing and saving energy. It was recommended to increase the existing vegetation, take advantage of the sun and the sea front, and improve the existing soundscape by degreasing private vehicles and by using water fountains at the area of Kallidopoulou Road, in the center of the city near the seaside (figure 5).

Figure 5. Part of the design proposal in architectural competition regarding environmental upgrade

and soundscapes of Thessaloniki. 3.2.2 Soundwalks in public spaces - realized

A soundwalk is any excursion whose main purpose is listening to the environment [29]. A. Karapostoli, one of the writers, has organized numerous soundwalks for different occasions (World Listening Day [30], Earthday [31], etc.). According to Hildegard Weterkamp, there are a number of things you have to listen and do when you participating in a soundwalk like; moving your body, concentrating on your nearby environment, focusing on the sounds you like the best, who are the weakest, who are the strongest, being aware of the acoustics, how is it possible for the topography to form a soundscape, etc. This activity is essential for the participants in order to reactivate their sense of listening and realize what a soundscape is.

3.2.3 Artistic exhibitions in closed spaces - realized a. Action Field Kodra 2011, “Soundcity II”.

An artistic project focused exclusively on the city of Thessaloniki, which the exhibition explored through sound, underlined the sonic relationships of spaces as products of memory and their sense. The Resonance Chamber, a work collaboration between diF and P. Dimotikalis, A. Kaltsidou and A. Karapostoli, afield in the military camp grounds, in a distinctive hexagonal guard-house. Various sounds of Thessaloniki, both from the natural environment and human activity, were collected and chosen by the group, who subsequently processed them with special technological means and transformed them, after a series of experiments. Their random playing via the «shuffle» mode of a sound system creates a sonic mosaic, which acts as a condensed urban soundscape, challenging the memory and senses of visitors through continuous, unanticipated changes that are beyond their control [32]. b. An architectural sonic experiment inside a museum. An experimental research, that the writers have designed, included the design of two different soundscapes in order to predefine the auditory experience in the context of architectural space. The study took place in The State Museum of Contemporary Art in Thessaloniki (Moni Lazariston), as part of the current exhibition “Composition-Construction-Production. The Russian Avant-Garde and Contemporary Art” (figure 6).

The main hypothesis resolved around how visitors' experience and behavior varies, depending on the different soundscape creations. The research design involved various sets of observations. The first experimental treatment condition, was designed to create a soundscape which was consisted of sonic effects like drones and cut outs, and it constituted mainly of sound samples of industrial, sci-fi and construction backgrounds. The main purpose of the new sonic environment was to reinforce the theme of the art exhibition by using sounds that are generally perceived as unpleasant. In addition the placing of the sound objects was carefully designed, aiming to alternate the prevailing visitors' route. The second experimental treatment condition, was designed to create a soundscape which was consisted of music compositions made during the Russian Avant- Garde period. The main purpose was to reinforce the theme of the exhibition through another perspective, which was generally perceived as pleasant. The results showed that visitors had distinctive responses to different sonic environments and that soundscape design can be used as a tool to create desired architectural intervention [33].

Figure 6. Part of the design of the experimental research regarding soundscapes and architectural

space in The State Museum of Contemporary Art in Thessaloniki (Moni Lazariston). c. "XANIaRT 2013", “From North to South”.

An artistic project for a particular site (Rotunda, Episkopis Kolymvariou in Crete) was an attempt to create the illusion of a different place, by changing the soundscape of the exhisting site. The main objective of the project was to link the small “Rotunda” in Chania with the famous "Rotunda" of Thessaloniki. Walking inside the monument in Chania and passing through certain spots the visitor could hear sound fragments from Jews speaking, Muslims celebrating or Christians praying, people who used to live in the city whispering their stories to another site, realities and myths intersect in other spatial dimensions. The acoustic quality of the building iwa unique because of its rare concave shape. The installation was consisted of 3 sound sources which produced interactively different sounds, melodies, etc. in different languages. If a visitor standed in certain spots, she could clearly hear the sounds. In the rest of the building the sounds "creep" along the concave surfaces and create a soft sound like "whispering". Interestingly enough this artistic exhibition found not suitable for a religious monument and chanced location in the last minute having not the expected acoustic and artistic results [34]. Conclusion In the presented paper, the writers suggested the expansion of the Greek architect role in this current landscape, concerning her solid relationship with soundscapes. The need for an environmental upgrade in Greek urban areas and the need for a renewal of architectural identity in certain places can be satisfied by using sound on sound. Specifically, using sound art and creating experimental, temporal structures instead of permanent solutions, while adopting interdisciplinary

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