Sustainable Development and Planning V 355

The soundscape of cities:

a new layer in city renewal
M. Leus
Department of Design Sciences,
Artesis University College Antwerp, Belgium

Abstract
The conservation of historical heritage and the development of public spaces are
important issues for the liveability of cities and everyday life. Yet, spatial
qualities are rarely designed and evaluated as a combination of senses. Public
spaces manifest themselves not only in a visual but also in an acoustic way. Next
to the visual aspect of urban spaces, sounds and silence are also indicators of the
environmental layout. A sonic urbanity opens a perspective for a better policy
with regard to sensorial aspects in design and management of public spaces.
The study of the soundscape of cities is an ‘ear-opening’ for the multi-sensory
qualities of semi-public spaces. Research in which the soundscape is integrated,
helps to enhance and emphasize the different components and the underlying
historical layers of the city and stimulates the imagination in the construction of
narrative tales.
The northern part of the city centre of Antwerp, a remarkable cultural heritage
site, is used as a case study to examine different concepts and methods for the
implementation of sound in urban development. The research of soundscape in
urban planning and heritage management of cultural sites opens up perspectives
to create new design paradigms for public spaces.
Keywords: soundscape, cultural heritage, experience, sonic concepts, notation
tools, communication.

1 Introduction
The soundscape of a city is generally marked as something trivial. As a result of
contemporary technological noise pollution, urban sounds are often defined as
‘unwanted’. Sound pollution, an important form of discomfort, has a negative

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356 Sustainable Development and Planning V

influence on the quality of life in urban public spaces. Sound is rarely used as a
positive, informative or explorative social perception instrument within the
existing urban planning and heritage management.
The experience of urban public spaces by walking has been studied by several
urban researchers but their attention has been mainly focused on the visual
aspects or the aesthetic dimension of the spaces [1–4]. Urban designers show a
passive acceptance of the aural sound decor. Sound is rarely considered as
having a potential contribution in tackling conceptual strategies for the
revitalization of urban public spaces [5]. Nevertheless, the experience of the
spatial qualities of public spaces is often evaluated by users of these spaces as a
combination of senses [6, 7].
Due to the static image of urban spaces in contrast to the soundscape which
occurs as a dynamic process, consisting of changeable sound waves between the
sources and the listener, the urban soundscape is often regarded as complex. The
soundscape is four-dimensional and not limited to the material borders of a
space; sounds create a kind of an immersive experience space. As Neuhoff
pointed out, many cumulative aspects of different sounds influence each other
and “changes in one variable may influence the perception of changes in another
variable. Changes in any of these perceptual dimensions can influence perception
of changes in the others” [8]. Moreover, the experience of soundscape holds
different meanings for different people, depending on their cultural and social
background, education and previous experience [9].
Although cultural heritage sites offer a valuable contribution towards creating
a sustainable environment within the vulnerable continuity of the urban story,
sound and heritage, both in their tangible and intangible dimensions, are
embodiments of urban places that open space for interpretation. Both project
fragments of urbanity and weave them into a scenario by the experience for
inhabitants and visitors. Yet, the selection of world heritage sites never demands
specific acoustic criteria. Different heritage charters and documents developed at
the international level in ICOMOS and UNESCO don’t pay special attention to
sound as an inherent value of cultural heritage which enhances the experience
and interpretation of the historic site.
Acoustic research in relation to urban design requires not only a problem-
solving, but also a problem-defining attitude. The most important reason is that
planners are lacking an adequate design vocabulary such as aural evocative
concepts and tools to integrate an acoustic consciousness in the design process of
urban spaces [10]. Yet, communication on soundscape is limited to a
conventional semantic language, directed to the physical measurements of urban
noise and the description of psychoacoustic parameters [11]. These physical
notations are only accessible for those who are trained to decode them. The main
question is how a designer can be a composer of a sound performance of the
urban space. Or should we rather conclude that a soundscape is an indefinite
given that is impossible to orchestrate?

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2 Aim
The general objective of this research is to define aural concepts and tools which
are applicable during the design process so that urban planners, heritage
consultants and architects are able to create public spaces with more sensorial
and particular aural qualities. On the one hand this will contribute to the increase
of the accessibility of cultural heritage, while on the other hand it will alter the
current theoretical urban soundscape discourse. In this way soundscape remains
no longer restricted to a recommending theory about noise pollution, but steers
applicable keys or strategies for the design process. Aural concepts as a design
philosophy provide a base to underpin a deeper cultural meaning that stimulates
the interpretation and the interaction with the user and the cultural heritage. Akin
argues that “conceptual variables are the schemata that provide the underlying
order and structure for an aspect of an architectural design” [12]. Aural concepts
can be compared to the soundtrack of a movie, as they both evoke particular
emotions and expresses messages [13].
To receive an adequate answer the following questions will be examined:
- How can we map or record a soundscape of a public space as an
expressive and significant tool for urban planners and architects?
- How do we conceptualise the aural sense as a perceptual system and
how will it be integrated in het design process of urban public spaces.
- How can sounds influence the story of the place, in relation with the
cultural heritage?
Although these questions are not self-evident, they are pressure questions that
we have to formulate in order to improve the urban fabric.
After explaining the relationship between sound, urban public spaces and
cultural heritage, we will also discuss the results of an experimental workshop
which explores the sound experience of the urban public space by walking.
Heritage is often just a piece of scenery on these walking routes, but sometimes
it is the aim of the visit, or a framework for temporary stays, study or
entertainment. The hypothesis which we want to test is if soundwalks are useful
for the opening-up of cultural heritage.

3 Synergy between soundscape in urban public spaces and

cultural heritage
The word ‘soundscape’ covers two important dimensions, namely the relation,
on the one hand, between the human being and the sound environment, or the
ecological dimension, and the creation and conceptualization of the sound, or the
design dimension, on the other hand [14].
Soundscape is also a striking indication of the genius loci, “because the
engagement and appreciation of a place depends on the sound the listeners can
hear” [15]. Emily Thompson discerns different ways of listening: “A
soundscape’s cultural aspects incorporate scientific and aesthetic ways of
listening, a listener’s relationship to their environment, and the social
circumstances that dictate who gets to hear what” [16]. Engaged listening

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integrates different aspects of the aural experience. It connects rational as well as

emotional aspects. Sounds are the voices of meanings and act as a
communicative medium that provides relations charged with emotional and
psychological connotations [17].
In his book ‘New City Spaces’, Jan Gehl distinguishes different types of
public spaces: main city squares, recreation squares, promenade squares, traffic
squares and monumental squares [18]. From the vision of soundscapes, this
typological classification of squares can be completed by adding restorative
squares [19]. These tranquil or restorative environments are able to evoke
contemplation and support reflective activities [20]. The acoustic quality of a
public space largely determines the communication and the experience of sound
as an extra source for intensifying and amplifying the visual image, and leads to
a better understanding of the genius loci. Sound and silence can break through
the artificial classification between tangible and intangible cultural heritage [21].
Mills stated that sound as a social ‘agency’ can work as a trigger between sender
and recipient [22]. Sound communicates information by making people alert and
provokes a response of the recipient.
Cultural heritage as well as soundscape is associative rather than linear and
relative rather than absolute. Cultural heritage is emotionally charged and based
on remembrance and the power to keep memories alive and can be regarded as a
stimulus or as an obstacle for general spatial development. The sonic
environment stipulates the possibilities for perception of the cultural heritage.
Strong sound values can repress the weak historical values. However, when the
soundscape matches with the heritage, the cultural values will be amplified.
Especially in medieval cities and historic city centres, churches, monasteries,
closed building blocks, or palazzos with courtyards have the quality to block the
sounds of the city, creating ‘silence’. But also narrow streets, mineral surfaces,
galleries with vaults, and traditional places, have a particular acoustic quality.
In a positive way, church bells, live music performances, sounds of talking
and walking people, sounds of activities in cafés, natural sounds such as singing
birds and the rustling leaves, are all considered as the notes of positive
soundscapes. Bringing the cultural heritage into urban soundscape-studies offers
much potential and enables us to explore ‘meanings’.

4 Research methods
An experimental interdisciplinary workshop, set up at the public space lab of the
Artesis University College of Antwerp, brought together experts from different
domains such as architecture, urban planning, art-history and archaeology, in
order to discuss their perspectives on the soundscape of urban public spaces.
These participants were all experts in the architecture, heritage or urban design.

4.1 Introspection as a starting point

The theoretical basis of quantitative acoustic research, which purely defines

sound parameters, is too complex for urban planners to get a sufficient image of

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the acoustic experience of a public space [23, 24]. Therefore a qualitative

research based on a subjective experimental field study for the survey and
analysis of the context was conducted. Nakamura emphasizes that “it is the
subjective challenges and subjective skills, not objective ones that influence the
quality of a person’s experience” [25]. In this workshop, the participants take the
user’s role and empathize with the user’s experiences while walking in urban
historical spaces. This approach is based on the idea that the designer’s personal
experience is a key to acquiring insight, especially in a direct relation with
acoustic research by design. Within this framework the acoustic and visual
mapping of experiences as well as activities of the visitors and inhabitants plays
an important role.

4.2 Soundwalks

Because of the ephemeral nature of sound, it is essential for urban designers to

think in time dimensions, and to take into account changes, movements and
spatial events. Favole pointed out that public urban space is meant to be
experienced by walking [26]. Walking as a tuned physical dialogue with the
environment explores the experience of listening which offers a stronger sense of
community or belonging [27, 28]. This reflects an affinity with our past. The
exploration of soundwalks as developed by Schafer in the seventies is an
important valuable tool for aural awareness [29, 30]. Soundwalks, active
listening walks, lead to being engaged in the physical and sensory environment
and affect the sense of time and place. Järviluoma argued that “Space is a system
of places; a place is a space that is special through the meanings connected with
it. When we move the places become activated and we enter into a dialogue”
[31]. Interpretation connects the sensorial experience with the conceptual idea of
meaning [32, 33].

4.3 A cultural perspective of ‘modern storytelling’ in urban planning

An interpretive historic research was implemented to report the findings in a

narrative story [34]. Linda Groat and David Wang define an interpretive research
as “investigations into social, physical phenomena within complex contexts, with
a view toward explaining those phenomena in narrative form and in a holistic
way” [35]. Especially cultural heritage can act as a mediator. Marc Childs
explains that stories can inform and condition the design of places in multiple
ways [36]. First of all, urban designers can curate the narratives in ways that
support the designers' engagement with place stories; secondly this will activate
cycle of interactions between stories and create formats for the inclusion of
multiple designers and a diverse set of independent stories.

4.4 Philosophy of the workshop

The first step focused on the qualitative survey and analysis of the context, the
historical space. The objective was to obtain a deeper understanding of the
relation between sound and diverse actors and aspects of the urban environment.

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Therefore a multidimensional reading of space and its qualities was set out by a
field study that observed the area in three ways: First the context mapping
gathered information of spatial characteristics and the urban development. This
spatial analysis resulted in several quick scans: the historical evolution, the
cultural heritage, the morphology, functionality, mobility and open and green
spaces… These aspects were constantly tested in relation to each other.
Secondly, a mapping of behaviour patterns of the visitors and the inhabitants was
studied. Thirdly the experience of the urban spaces was incorporated in the
research by using a visual and sound mapping. Appraisal of the soundscape
depends mainly on the way it matches with the setting [37].
The second step was the study of the historical stratification of the city with
special attention for the spatial and temporal links in order to support the
interpretive research.
The third step was the expression of the evaluation and interpretation of the
current and future situation by means of a postcard with a slogan. Postcards are
an attractive medium for communication because they provoke inspirational
responses and in a certain way they act as a kind of emotional toolkit. The results
of these analyses were translated in plans and sketches so that potential
opportunities for new interpretations and development in relation with the
vulnerability of the sites were visualized. For this purpose, an appropriate set of
instruments was developed by means of the configuration of concepts and
soundmapping tools that outline a clear description and typifying illustration of
the sonic environment.

5 Case study: northern part of Antwerp, Belgium

Yin describes the importance of case studies as follows. “In general, case studies
are the preferred strategy when ‘how’ or ‘why’ questions are posed, when the
investigator has little control over the events, and when the focus is on
contemporary phenomena within some real-life context” [38]. The soundscape of
the northern part of the city Antwerp was recorded, mapped, assessed and
formulated in action items that underpinned the concepts for a sonic urban
heritage policy. The historical city centre of Antwerp, located on the right bank
of the river Schelde, was indicated with the denominator from MAS, the new
museum at the river, to the old central city market. This site is the most
representative for the purpose of the survey because a preliminary masterplan
revealed the existence of acoustically interesting spots in this area. In addition
the site contains cultural heritage par excellence.

5.1 Notation tools

The complexity of urban environments demands for new forms of mapping and
depiction to enhance urban design and planning. Two notation schemes which
are already familiar to the traditional toolkit of depicting urban spaces, represent
the aural criteria and make the sonic phenomena communicable and duplicable
to support the concepts design process [39].

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The first notation system shows different diagrams that depict the assessment
of the sonic perception in relation to the context. The most important layers of
urban experience, the static parameters and the dynamic or temporal sound
parameters, were put into radial diagrams, a series of concentric rings associated
with increasing intensity of experience. The quality of experience intensifies
from the inside to the outside. This graphic notation is a subjective way of
mapping the environmental qualities and depicts the relationship between the
context, soundtrack and image of each public space. These diagrams give extra
value to the acoustic categorization of urban public spaces.

Figure 1: Square of St. Mary’s Cathedral: temporal sound parameters –

context parameters.

A second way of mapping is extracted from the visualization of musicology

and geography. For the mapping of soundscape, a sonogram can act as a
metaphor for the acoustic environment. A sonogram is a picture drawn by
sounds; it articulates a representation of sound waves, which locates the data in
frequency, amplitude and time dimensions [40]. This three-dimensional image
looks like a geographic landscape and makes the invisible soundscape visible.
The variety of a geographic landscape partly determines the attractiveness of it.
The same applies to soundscapes where a mixture of sounds characterizes a
specific area. This is comparable with the method of representation introduced
by Chiambattista Nolli in his ichnographic plan of the city of Rome in 1748,
where he accentuated the public spaces both inside and outside [41]. But this
icon fails to evoke an impression of complex urban soundscapes, principally
because the various sound sources and their loudness or pleasantness are difficult

Figure 2: A sonogram, articulating the sounds of public spaces.

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to distinguish. According to synesthetic, which explores the relationship between

music and colours, expressing sounds in colours is complicated by personal
experiences, which brings out moods and associations [42].

5.2 Sonic concepts

Four sonic concepts will highlight different strategies that can be applied to
tackle soundscape in current and future plans for sustainable development of
urban public spaces. Lucas and Romice emphasize that we should incorporate
sound concepts integrally in the drawings that constitute the design process and
not as an additional and separate process: “This is due to the way in which
drawing is a part of the thinking process itself and not a later representation of an
already complete and static idea” [43]. The results of the workshop reveal some
emblematic themes which could be transferable to other cityscapes. Therefore
we present them as possibly relevant acoustic themes in urban planning.

Figure 3: Four sonic concepts: Thresholds, silence, Pac-Man, secrets.

5.2.1 Concept 1: Soundscape thresholds – a transition between

inside-outside
The oldest historical part of the city around the Central Market is characterised
by many public spaces such as the squares of many churches. In this quarter you
can explore the music and the historical sounds of the city, such as the bells of
the famous Gothic St. Mary Cathedral. The cultural heritage plays an important
structuring role in the urban fabric of this quarter; it arranges the soundscape into
a harmonious whole, with strong sound contrasts between different areas. In this
area, the concept of thresholds or in-between spaces is very important, because
thresholds mediate between inside and outside. Sound thresholds and passages in
the public spaces are frequently crossed unconsciously [44]. The configuration
and materialization of these transition zones offer a frame of significances on a
morphological as well as on an acoustic level. Subtle interventions in pavements
influence the sound and echo of footsteps and support the experience of entering
a different scene. Each passage assumes the presence of a transformation, for
example the transformation of a noisy to a quiet area. These are moments in the
course of which the city as a whole gets its richness of articulation. The art of

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montage is determined by the significance of the image, the cultural heritage.

The same principle can be applied to the sequences of aural fragments [45].

5.2.2 Concept 2: The magic of secrets spaces

The area, which borders to the river Schelde, is determined by the presence of
water. The workshop revealed the importance of an intrinsically isolated urban
space, an amazing network of underground waterways such as covered canals,
rivulets and moats and a large pallet of both upper- and underground
archaeological heritage. These waterways, dating back to the middle ages,
functioned originally as lines of defence while later on they were used as an
inland port and as water supply systems. Although covered with archways, these
structures explain the structural morphology of the city of Antwerp in a secret
way. These underground canals carry a tremendous symbolic meaning. Mystery
intersects throughout the various civilizations that left their imprint. The canal-
house or ’Ruihuis’, which is situated close to the central market and the MAS,
the new museum on the river in the northern part of the city, function as a gate to
enter these canals. This concept doesn’t represent a submissive position but
exposes a sensitive interior world. The interplay of light, dark and sound, silence,
echo and resonance are a central theme in this scenographic experience of these
underground worlds. The exploration of secrets is incomplete without a glimpse
into different layers. The palimpsest of the city covers what is re-inscribed, the
metaphor of a chrono-spatial scaffold represents the secrets of this area.

5.2.3 Concept 3: Pac-Man, an urban labyrinthian game

This area along the old docklands is a patchwork of old and new and is branded
by a jumble of sounds. The chaotic perception of sounds interferes with the old
and new cultural heritage. The postcard of this group expresses this vivid quarter
with courtyards, formal and semi-public spaces in old monasteries and palazzos ,
which have been reused as university amenities and which can be compared with
a scenery for Pac Man. The Pac-Man concept, as a metaphor for the labyrinthian
structure of this area and its soundscape, is inspired by Pacmanhattan, an urban
game that stimulates an active listening to the stories of the cultural heritage of
New York City [46]. By incorporating play, experience, narration, and social
interaction into this game, the players will discover aural scenes on location
together with other people. The creation of a partly virtual ‘walkabout’, a system
of routes, referring to the aboriginal’s cultural reading of the land, will
interweave the soundscape with the legends related to the cultural heritage. In
this way, the soundwalk will not only increase the awareness of the soundscape
but the game will also motivate the participation in the search for actual sensorial
and sustainable cityscapes.

5.2.4 Concept 4: The sound of silence

The university neighbourhood, a historical core of the city, displays an intricate
network of streets and semi-public spaces. Silence and tranquillity, which are
present in the courtyards, the semi public spaces that are part of the university
campuses, can reinforce the identity of this area. The beguinage, a walled
community that has been entered in 1998 on the list of world heritage is also

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situated in this area. Miller states that silence as soundlessness do not exist.
“Silence exists as reference to the ambience of a soundscape, so that quiet and
silence become nearly synonymous” [47]. Therefore quiet areas are areas with a
good acoustic quality which have a restorative quality. Quiet areas are places
where time and space are in touch with each other. The past is generally silent
but it is within this silence that the heritage listens and stimulates the imagination
in the construction of narrative tales. The human being is the central issue for the
opening-up of silent areas [21].

6 Conclusion
Within this research the environmental sounds are considered as ‘sources of
meaning’ instead of nuisances. This approach, by which sound is the catalyst for
the uploading of the cultural heritage qualities and livability of public spaces, can
also bring a new dimension to the ‘World Heritage concept’. The soundscape
around the world heritage sites is unique and irreplaceable; it supports the
universal and outstanding value of this heritage.
Discussions with the participants reveal that the concepts and the notation
diagrams offer a structured set of aural information and powerful tools to urban
designers and heritage managers. Applying a ‘performative lens’ will shift the
design methodology from conventional notations and concepts dealing with
morphology and ‘image’ to aural sensations including narrative assemblages.
It is impossible to design meaning [48], in the same way as it is impossible to
design experience [49]. Orchestrating the soundscape of a city is complicated
because it is impossible to examine all the different parameters and their
relationship. Like in music there are different ways to orchestrate the same score.
The choice of an orchestral scheme also depends on the sound sources, the
spatial environment, the activities… An ultimate approach to urban soundscape
does not exist because the soundscape and the cultural heritage in the urban
context is complex and multiform in character, status, and meaning. Including
the soundscape of the cityscape into an urban design supposes a holistic and
sustainable approach.

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