Rayson Huang Theatre, The University of Hong Kong

“ I am not a musician by profession, and therefore I have no acoustical prejudices, nor any works to defend. I am a Futurist painter who projects beyond himself, into an art much-loved and studied, his desire to renew everything. Thus, bolder than a professional musician, unconcerned by my apparent incompetence, and convinced that my audacity opens up all rights and all possibilities, I am able to divine the great renewal of music by means of the Art of Noises.”
- Luigi Russolo, 1914.
In ‘The Art of Noises’,
Russolo flaunted his anti-qualifications with pride.

Bringing together research, collaboration and pedagogy, the goal of the project is to interrogate the relationship between sound and space through a dialogue between two distinct disciplines: architecture and music. Sound may be invisible, but it can be understood as an architectural material like wood, glass, concrete or light -- shaped and enclosed by design. With recent attention from both architects and musicians turned toward challenging longstanding techno-acoustic understandings of sound space, the project will expand on existing discussions through collaborative explorations between musicians and architects, students, practitioners and researchers.


B: INAURAL, April 2016

Himalayas Museum, Shanghai

The concept behind this project is collaboration and research to develop a unique project dealing with sound and space and create a dialogue between two distinct disciplines in architecture and music. Sound may be invisible, but it is no less an architectural material than wood, glass, concrete, or light. It is shaped and enclosed by design. Presently, sound is rarely considered in design practice, except when designers are asked to plan concert halls or lecture rooms, and then expert sound engineers or acousticians are brought in.