Fielding Installation Design
School of Archtiecture: Landscape Architecture & School of Design: Sound Design & Industrial Design
The installation structure was designed through a Landscape Architecture studio, led by Holly Hein, ‘Broke or Woke’ and in consultation with the Fielding team and industry sponsor, Programmed.
Five design teams created proposals that explored design with relation to particularities of site (physical and environmental) including public access and cultural requirements, consideration of plant assemblages and acoustic augmentation elements.
“The ‘design studio’ is a disciplinary approach to design pedagogy where students, tutors and partners engage in exploring a mutual problem investigation. The studio is an incubator of ideas which provides a forum for speculative design proposals to be taken through to a degree of resolution”, Lecturer and Registered Landscape Architect, Jock Gilbert.
The outstanding proposal, selected to be realised with Programmed at the helm, was Acoustic Modularity designed by Meyrick Buchanan, Lewis Rosin and Winther Fernandez.
Sophie Gleeson, who is currently completing her Masters at the School of Design has curated the sound works into 100 minutes of collective and listening experiences.
The sound artist works heard in the installation contain diverse soundscapes and listening experiences, from birds, cicadas, penguins and frogs, to recordings of urban spaces, trains, local parks and electronic interpretations of birds.
The sound works can be heard from three speakers within the installation structure. Each speaker plays a particular set of works over the course of 100 minutes.
Edward Rossi, an Industrial Design student and talented interactive systems designer, worked with Gleeson to incorporate the interactive audio system into the structure. Both students were mentored under the guidance of Lacey.
Divided into three categories by Gleeson the sound works can be heard through three separate speakers in the installation structure.
The installation is approached in two ways. Firstly, it may be listened to as a presentation of three different sound environments, separated and distinguished by the order they comfortably sit within (background, ambience, signal). Secondly, it may be listened to as one amalgamated sonic landscape, containing three orders of information (background, ambience, signal).