A practice for empathic and
experimental architecture

Introduction

The Dungeness mirrors, known colloquially as the "listening ears", consist of three large concrete reflectors built in the 1920s–1930s. Before World War II and the invention of radar, acoustic mirrors were built as early warning devices around the coasts of Great Britain, with the aim of detecting incoming enemy aircraft by the sound of their engines.

Project Details


  • Commenced: 2017. Exhibition Oct 17-20
  • Photography: Coco and Maximilian

Awards


  • AIA (Vic) Awards - Shortlist

Sound as we know is made up of vibrations, and has the ability to propagate through a number of different mediums. Sound can be perceived and analyzed through a series of extremely complex states. How each of our brains receive sound (through pressure and time) is completely unique.

This project is designed to establish a new series of questions in relation to sound and dementia, not to simply answer existing ones, or re-define a past understanding. This project has been designed to challenge our phonic assumptions, looking at frequency, pitches, and the reaction of these on certain carefully selected materials.

This project aims to help bridge the gap between civic and industrial design for dementia, creating human scale experimental and experiential sensory place-making. Given the sensory experience of living with dementia, this project aims to design spaces around sound, to see what we can learn and how these principles can form a broader topics for conversation.

Project in collaboration with: ARUP (Theatre and Acoustic Consultants), and supported by: Dementia Training Australia, Alzheimer’s Australia, and Swinburne University.

Keywords


Alzheimer's Disease, Brain, Dementia, Experimental, Explorative, Installation, Phonic, Research, Sensory, SoundLAB, Speedframe

Photography

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Video

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Final installation. Filmed by: Coco and Maximilian

Video

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October 2017. Setup testing time-lapse. ARUP offices. Speedframe

Memory. Nostalgia. Empathyby Associate Professor Flavia Marcello, Centre for Design Innovation, Swinburne University

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The Memory Nostalgia Empathy project has at its heart the importance of experience. As human beings we build our identity, our way of being in the world and our daily lives on memory. Every day we remember many things and every day we forget a few things and we don’t think much of it. And we certainly don’t think much about what it would be like if everyday we remembered only a few things and forget almost everything else. We don’t think about what it must be like to lose that very thing on which we have built our identity, that has determined our way of being in the world, that has structured our daily lives.


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Memory. Nostalgia. Empathy

by Associate Professor Flavia Marcello, Centre for Design Innovation, Swinburne University

The Memory Nostalgia Empathy project has at its heart the importance of experience. As human beings we build our identity, our way of being in the world and our daily lives on memory. Every day we remember many things and every day we forget a few things and we don’t think much of it. And we certainly don’t think much about what it would be like if everyday we remembered only a few things and forget almost everything else. We don’t think about what it must be like to lose that very thing on which we have built our identity, that has determined our way of being in the world, that has structured our daily lives.

Nostalgia and memory are closely related, that melancholic feeling we have when we remember a feeling or an experience that for a number of reasons can no longer be. The French writer Marcel Proust evoked that very feeling in his famous novel In search of lost time when the act of dunking a madeleine cake into a cup of lime flower tea brought back a rush or memories about his aunt Léonie so strong that her old house ‘rose up like the scenery of a theatre … all the flowers in our garden … and the good folk of the village and their little dwellings and the parish church … sprang into being, town and gardens alike, all from my cup of tea’ (Marcel Proust, Swann’s Way, Remembrance of Things Past, Vol. 1, Trans. C. K. Scott Moncrieff, New York: Henry Holt and Company, 1922). Proust was overcome with nostalgia, bittersweet memories for his childhood in fictional country town of Combray. Dementia is a set of cognitive and behavioural symptoms that interfere with function, represent decline and can be associated with two or more cognitive domains. It most typically affects memory and therefore it affects our identity, our way of being in the word and our daily lives. Having dementia means that the memory we need to live our daily lives is no longer there, all we are left with are snatches of nostalgia for a time and for a self that is no more.

Unless we suffer from dementia we can not know what it is like but we can take one step towards making a connection to people suffering with dementia through experiential interpretation that can lead to feelings of empathy. Our senses are more powerful than our intellect and we know that people suffering from dementia often respond this way so it is a logical medium for raising awareness about what the world becomes for those suffering from dementia.

The installation is based on everyday auditory experiences of an aged care facility, a supermarket, a city café, a home. It takes those sounds and muddles their source, their direction, their connection to familiar objects. The project draws inspiration from the work of utopian groups of the 1960’s, in particular the work of Milanese kinetic artists Gruppo T (the T stands for time) who were pioneers of interactive art. In their founding manifesto they declared: ‘We consider art to be a kind of reality made with the same elements that constitute the reality that surrounds us and so that it is necessary that the work of art allow for constant variations. We therefore refuse the validity of media such as colour, form, light etc. and we give them a new dimension by placing them in an artwork that is within a real situation, that we recognize as part of reality. A reality that is in constant variation and that comes from a reciprocal relationship between art and reality.’ (Gruppo T, Dichiarazione fondativa del Gruppo T, Milan 1959. http://www.gabrieledevecchi.it/opera.php?idO=15)

Gruppo T focused on space and light. For BLOXAS, ARUP and the Centre for Design Innovation the material is sound and space, creating an environment that is in constant variation thanks to the reciprocal relationship between sound, memory and our perception of that sound. This projects aim is to arouse feelings of empathy, to get a sense of what experiences of sound might be like for those suffering from dementia. This experiential combination of memory, nostalgia and empathy will raise Dementia awareness amongst the public and prompt architects, designers, landscapers, aged care providers and families to think more about how design can impact people living with dementia. With this information architects, acoustic engineers and researchers can translate research on dementia design into practice.

Video

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This film was established as a clearer way of discussing the project hypothesis. It was used to drive our successful 'Pozible' crowdfunding campaign.