Alessia is an interdisciplinary researcher looking at how architecture participates in the generation of our sonic environments. Originally trained as an architect, her activities span from acoustic and parametric modelling to the design of interactive experiences, such as Aural Fabric, a textile sonic map presenting the recordings from a sound walk in Greenwich. Alessia is also interested in how people describe sounds and spaces and is an advocate for sonic education in architecture schools.
You can find out more about her work here https://auralcharacter.wordpress.com/ and here http://www.alessiamilo.com/
About Debbie’s work as one half of the Demolition Project explores mapping, walking, and urban life, developing frameworks and strategies for thinking about the city and its relationship with us in ways that can be more (or less) participatory and performative. She is particularly interested in language, improvisation, and public space. She is also involved with radical geography network Livingmaps, facilitating workshop groups and performing at the Museum of London’s London Aftershock Salon, and is undertaking a practice‑led MPhil/PhD at Goldsmiths on audio walks and urban transformation. In the past, she has written plays for Radio 4 and for theatre as well as short films and performed with improv collective Danger 11.000v. firstname.lastname@example.org
Kate Carr investigates the intersections between sound, place, and subjectivity using field recordings, minimal instrumentation, and film. Her work has been featured in The New York Times, The Wire, The Quietus, Fact Magazine and BBC Radio. Her music can be found on the labels Helen Scarsdale (US), Rivertones (UK), Soft (France) 3Leaves (Hungary) Galaverna (Italy) as well as on her own label Flaming Pines. She is Australian and lives in Brixton and is currently a PhD student at LCC Crisap using sound to re-imagine sites of contestation. Kate Carr’s work is grounded within the speculative and exploratory practice of field recording and composition. Her ambient and haunting work is presented as live performance, installation or distributed media releases. Kate employs field recording within thoughtful and considered musical compositions that often set out to blur the boundaries between instruments and ‘found’ recorded sounds, highlighting an intimate overlap between nature and culture. Her work explores the sometimes complex and contradictory relationship between the natural world, place, identity and being. email@example.com
Pedro is a senior acoustic engineer at Max Fordham responsible for a variety of projects ranging from schools to offices to museums. “Good acoustics contributes to people’s enjoyment of space; it has the power to affect how a place feels.”
Each project is unique and he prioritises discussing the brief with the client and end users so that there is the best possible understanding of their aspirations.
Pedro uses auralisation (the audio equivalent of visualisation), to help illustrate the acoustic impact of possible design alternatives to ensure that options are explored and for the client to be in a position to make informed decisions Acoustics is just one aspect of a person’s experience of a space. The visual impression is, in most cases, as important. Trying to find acoustic solutions that work in sympathy with the architect’s intended design, that are affordable, is a central part of my work.
At Max Fordham, he is responsible for the SoundSpace, which is a state of the art 3D Ambisonics setup (with 14 loudspeakers surrounding the listener) used for Auralizations. He designed and implemented the complete signal processing flow (hardware and software) of the system and also supervised the design and construction of the SoundSpace box-in-box sound insulation and acoustic absorption treatment.
He is also leading the Audio Virtual Reality efforts at Max Fordham. This approach uses headphones and a head-mounted display to produce high quality audio-visual virtual environments. This system allows users to hear how different acoustic treatments sound like. P.Novo@maxfordham.com
About Vasilis is an architect, musician, and current Ph.D. candidate in Architectural History & Theory at the Bartlett School of Architecture. His doctoral thesis focuses on the musical event conceived as a synecdoche of interrelated sound and spatial parameters. His project examines the ways that compositional strategies used in early jazz music relate to the architecture of the performance spaces and investigate how the new musical genre which developed in Harlem during the 1920s-30s provoked urban regeneration. Before moving to London, he studied Architecture Engineering at NTU, Athens, and completed his MSc in Architecture there in 2014. Alongside his academic and professional work, Vasilis is a composer and songwriter. Many of his compositions have been published by Universal Music Ltd., The Sound of Everything Ltd. and TimeSpace Ltd. He is currently working as an architect at Studio Mark Ruthven in London. Contact Vasilis: firstname.lastname@example.org
About James is a sound artist whose practice includes performance, installation, and composition with a focus on themes such as duration, time and hidden sounds. To spotlight these themes urban soundscapes play a major role in his work. As more and more people integrate into smaller spaces, sound and its shift over time can give us a unique insight into understanding spaces and how they are changing and reacting to the factors that create them. James has performed and had his work showcased at Goldsmiths University, the LCM 50th Anniversary Concert and The LCM Theatre In Surround Series. He is currently based in London, a recent graduate of Goldsmiths University.
About Ian is currently Programme Leader for BA Digital Arts Practice at the University of Greenwich, London, where he also leads courses in sound design for moving image, audio technology, and creative practice. He is also developing new courses incorporating improvisation-led composition for the BA Sound Design programme. At present, he is working on Arrival Time, a generatively composed piece using open source data from Transport for London as a control source.
About Yifeat Ziv is a London-based vocalist and composer, evolving in between free-improvisation, contemporary new music, jazz, and sound art. Her recent sound works were presented at Hundred Years Gallery (UK), Israeli Center for Digital Art, Design Museum and Eretz-Israel Museum (IL). Her new solo performance for voice and electronics was performed in NOIZEMASCHINE London (UK) and Tmuna Theatre (IL). Yifeat has worked and performed with a wide variety of artists and ensembles, including David Toop (UK), the William Parker Orchestra (US), London Experimental Ensemble (UK), Igor Krutogolov Toy Orchestra, Revolution Orchestra and Israeli Philharmonic Orchestra (IL). She is the co-founder of experimental vocal quartet ABRA Ensemble and vocal jazz/electronic trio The Hazelnuts with whom she has released four albums and performed worldwide including Marseille Jazz des Cinqs Continents (FR), Tri-C Jazz (US) and Filter4Voices (CH). Yifeat is a current MA Sound Arts student at London College of Communication (UAL). She is the recipient of the AER Art for the Environment award 2019 and the Siday Fellowship for Musical Creativity 2018-19.
About Chiara is a local resident of the area and currently a third-year student in Sound Art & Design at LCC. UAL
About Carla is a local resident and currently 3rd-year student in Sounds Arts & Design at London College of Communication. email@example.com
About Jo is a practicing architect who has worked in Japan and the UK. She learned her craft working on the Alaska Building in Southwark and then a range of work-based buildings in London before joining Granit Architects. Since then she has been employed in practice involved in residential design and construction with a particular focus for the past 15 years on sustainable affordable and social housing. She is currently a director of MAS an architecture studio and likes listening to buildings. firstname.lastname@example.org