by Gregor Schmitz -

From Public Piazza to Private Practice: Re-thinking Site-Specific Sound Design

When I first planned my project “Sounds of the Joanneum Quarter”, the goal was ambitious: a site-specific ambient music installation, deeply integrated into the architectural and acoustic landscape of the Joanneum Quarter in Graz. Inspired by these unique sounding conical glass funnels and spatial openness of the site, I imagined turning the piazza into a dynamic concert space; one where the audience’s movement and the physical structures would shape the sonic experience.

However, during this semester a certain “reality check” demanded a shift in direction. Logistical constraints, timing and access issues meant that the Joanneum setting wouldn’t be possible for this phase of the project. Still, this place holds a special place in my heart, because it gave me a lot of inspiration to dig deeper into this topic. Together with my supervisor I brainstormed about re-approaching the topic: how could I scale the core ideas of spatial interaction, site-responsiveness, and ambient composition down to a format that’s more flexible, portable, and even testable at home?


A Scaled-Down Version with Broader Potential

The new direction retains the essence of the original project – interaction, spatial sound, resonance, and ambience – but re-frames it within a more universally accessible framework. Instead of relying on a single, monumental site, the project now aims to create a tool-set for composers and installation-makers, enabling them to transform any room or environment into a site-specific sound installation.

This smaller-scale approach not only makes the concept more versatile regarding the adaptability for different locations, but also supports a hands-on, iterative development process. I can now begin building, testing, and refining the tools at home and FH, implementing a workflow that builds a bridge between research and practice.


Building the Infrastructure: Tools for Room-Scale Sound Art

At the heart of this shift is a technical infrastructure that turns any kind everyday objects within a room into potential sound objects. The toolkit consists of both hardware and software components:

  • Hardware: Contact microphones or measuring microphones as input, and transducers as output
  • Software: A modular environment built in Max/MSP within the Max4Live framework, tailored to site-specific sound creation.

One of the tool-kit’s key features is its ability to identify an object’s natural resonances via impulse response measurements (input). These measurements inform the creation of custom filter curves that can be used to excite those resonances musically (output). In this way, a bookshelf, table, a metal lamp or even a trash-can becomes a playable, resonant sound object.


Interactive Soundscapes in Everyday Spaces

A third component of the tool-set introduces basic interaction mechanics, allowing potential users or audiences to engage with the sound installation. These control objects can be mapped to a digital version of the room (upload of a literal map) and may include for examples:

  • Panners that move sound from object to object.
  • One-shot triggers that activate specific objects.

With these tools, rooms become navigable soundscapes, where UI interaction can influence sonic outcomes, echoing the spatial interactivity originally imagined for the Joanneum Quarter, but within reach of smaller spaces.

schematic view of the framework


From Site to System

While the grand setting of the original concept served as a powerful starting point, the shift toward a modular, adaptable toolkit has opened up new creative and technical possibilities. What began as a site-specific composition approach can now be framed maybe as a site-adaptive system; one that gives myself or others the opportunity to explore the relation between sound, space, and interaction in their own settings.

The essence remains: redefining how music and sound inhabit space. But now, instead of building for one site, I’m building a foundation that others can use in many.

by victoria.bremer -

Where do we go from here? Possible approaches for designing connection

What I’ve discovered is that there’s a strong awareness of loneliness as a problem, especially in the research community. There are countless studies, statistics, and even political measures addressing it, but what’s missing are concrete steps and ideas on how to tackle it.
There are some considerations, such as guidelines for urban planners and architects, that lay the groundwork. But direct, creative, and innovative approaches are harder to find. Most existing solutions focus on open spaces, but few actively invite specific forms of interaction. What’s needed is a deep understanding of both the structural aspects of loneliness and the personal experience of it. This means understanding what people need in order to change their behavior and the way they operate in the world we currently live in. Is it the online world and our phone addiction? The fast paced life style? The way and amount we work? The ways our offices, homes an cities are designed and built?

It might be helpful to focus on specific scenarios where loneliness occurs, as its causes and effects vary depending on the context. Loneliness looks different for an older person in a retirement home than it does for a young person who just moved to a new city. Patients in hospitals or reha centers face different challenges than single parents with little time for social interaction. Immigrants who have been separated from their families and cultures experience isolation differently than someone struggling with mental health issues. People who have been removed from or disconnected from their communities also face unique forms of loneliness.

So what can design do? There are different angles and scales from which to approach this issue. One possibility is rethinking urban planning to create spaces that naturally foster human interaction. Another is shifting public perception by raising awareness and reducing the stigma around loneliness, making it something we can talk about openly rather than something to be ashamed of. Smaller interventions can also play a role, like simple design elements that spark interaction and connection, allowing relationships to develop organically.

The next step is to explore possible directions. Should this take the form of a framework or set of guidelines for urban design? A workshop that actively engages communities? A game or interactive tool that initiates connection? A digital platform that helps people meet in meaningful ways? Maybe physical installations or experimental spaces designed to encourage spontaneous interactions. Or maybe artistic works that highlight and address loneliness could invite reflection and conversation.

To move forward, more research is needed and the questions that came up during research need to be answered. Interviews, testing, and case studies could provide valuable insights into what actually works. Understanding the real experiences of people struggling with loneliness and setting a direction for a project are key to designing solutions that go beyond theory and make a real impact.