“聆听结构,阐明对空间的体验和理解”。(尤哈尼-帕拉斯玛(Juhani Pallasmaa)–《皮肤的眼睛》,《建筑与感官》)。
“所有的空间都像一个伟大的乐器一样工作”。(彼得-祖姆索尔 – 大气层)

“To hear structure and to articulate the experience and the understanding of space”. (Juhani Pallasmaa – The Eyes of The Skin, Architecture and The Senses)
“All space works as a great instrument”. (Peter Zumthor – Atmospheres)

首先,我们建造了沉默,然后我们设计了建筑的声音。听力是我们在子宫内发展的第一个感官。它给我们提供了从理性、知识、知觉、记忆到情感和情绪的信息。声音是被感知的,而不是被看到或触摸到的。物质允许它的存在,它通过物质传播,但声音本身不是物质。建筑是传播声音的一种手段。在这个崇拜图像的时代,短暂的,为形式而形式的,在媒体和网络中视觉过度刺激的时代,以声音为出发点来构思建筑是不常见的:一个建筑是怎样的声音?建筑材料的声音如何?建筑形式是如何影响声学的?一个空间的声学如何影响人的耳朵?

First, we built silence, then we designed how the architecture would sound. Hearing is the first sense that we develop in the uterus. It gives us information that ranges from reason, knowledge, perception, memory, to affective and emotional. The sound is perceived, not seen or touched. Matter allows its existence, it travels through it, but sound itself is not matter. Architecture is a means of propagating sound. In these times of the cult of the image, the ephemeral, form for form, visual overstimulation in media and networks, it is uncommon to conceive architecture with sound as a starting point: How does a building sound? How do the building materials sound? How does the built form influence the acoustics? How does the acoustics of a space affect the ear?

录音室可以被定义为一组技术设备,以最佳的保真度记录声音,以修改它并将其作为包括音频(音乐、电影、广告、电视、纪录片)在内的创作的原材料。与这些技术设备(麦克风、调音台、压缩器、电线、计算机)一起,还有一个就是建筑,它不仅是一个空间容器,而且是音频记录的一个积极部分。建造录音室的手册给了我们第一世界的食谱,在 “沃尔玛音响 “类型的商店里可以买到这些东西。如果没有这种直接接触这些材料和标准化技术的机会,我们就只能理解每件作品的属性,并从材料的物理反应中进行加工。我们建立了经过声学计算的形状和比例,利用了普通和经济材料的特性。

A recording studio can be defined as a set of technological devices that record sound with the best possible fidelity in order to modify it and use it as a raw material for creations that include audio (music, film, advertising, television, documentaries). Together with these technological devices (microphones, consoles, compressors, wiring, computers) one more is architecture, it is not only a spatial container, but it is an active part in the recording of audio. Manuals to build recording studios give us first world recipes, where the pieces are available in “Walmart audio” type of stores. Without such direct access to these materials and standardized technologies, we resort to understanding the properties of each piece and working from the physical responses of the materials. We built acoustically calculated shapes and proportions, taking advantage of the properties of common and economical materials.

我们设计并建造了 “盒中盒 “的概念作为起点,也就是说,一个盒子在另一个盒子里,每个盒子都是独立的。第一个盒子是预先存在的建筑,利用空间和材料的优势,现有的墙壁,厚度和质量,重新使用在功能调整中创造的拆除材料。第二个盒子是浮动地板、具有 “声学形状和纹理 “的墙壁和木质天花板的总和。在这两个盒子之间,声音被消散和吸收了。构成空间的平面的不规则性允许声波在建筑中自由传播。

We designed and built the concept “box in a box” as a starting point, that is, one box within another where each one is independent of the other. The first box is the pre-existing construction, taking advantage of the spatial and material, existing walls, the thickness and the mass, reusing demolition material created in the functional adjustments. The second box is the sum of floating floors, walls with “acoustic shapes and textures” and wooden ceilings. Between both boxes, the sound is dissipated and absorbed. The irregularity of the planes that make up the spaces allows the soundwaves to travel freely through the architecture.

曾经有生命力的木材拥有吸收声音的神秘属性,将其储存在分子中,并得到创造性能量的充实。这种集中在空间的能量被分享和重新吸收。我们实现了具有理想混响的空间,这种混响可以被控制,但如果没有特定的建筑,就无法产生。我们把亚松森市中心的一座带院子的老房子改造成工作室/旅馆,以便艺术家能够在精神上移动到一个专属和平和创作自由的地方。

The wood that was once was alive possesses the mystical property of absorbing sound, storing it in its molecules and getting charged with creative energy. That energy concentrated in space is shared and reabsorbed. We achieved spaces with an ideal reverberation that can be controlled but that couldn’t be generated without the specific architecture. We converted an old house with a courtyard in the centre of Asunción into a studio/lodge, in order for the artist to be able to move mentally to a place of exclusive peace and creative freedom.

Architects: Grupo Culata Jovái
Area: 300 m²
Year: 2017
Photographys:Federico Cairoli
Construction:Grupo Culata Jovái
Structural Calculation:Genaro Fernández
Design Team:Sebastián Blanco, Jessica Goldenberg, Miky González Merlo, Emmerick Braun, Mauri Román, Ricardo Zucarelli
City:Asunción
Country:Paraguay