Urban Interlude ( Lund Sweden )

Mauricio Navarro Urban Interlude

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Table of contents
Personal Vision………………………………………………………………….. 3

About Composing in Architecture……………………………………………….5

Look Through the ears……………………………………………………………6

Acoustic Focus………………………………………………………………….....7

The Search of the Concept inside the Architecture…………………….....8

The Soundscape Concept…………………………………………………….….9

Dimensions and Perception in the Soundscape………………………………10

The Sequencer of The sound Space…………………………………………...12

Esthetical Language of Sound. Music And Architecture………………………...…………….13

Music And Architecture Concepts……………………………………………....14

Rhythm…………………………………………………………………………….14

Harmony………………………………………………………………………...…16

Frequency…………………………………………………………………………18

Scale……………………………………………………………………………….19

Architectural Aim…………………………………………………….……………20

Choosing a Site………………………………………………………………...…21

Sketches…………………………………………………………………….……..25

Urban Interlude ( The proposal )……………………………………………...…28

Presentation Layout………………………………………………………………36

Renders…………………………………………………………………………….41

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Personal Vision
Most architects turns deaf ears to sounds they produce themselves in their buildings
every day. Sound perception is an user-oriented-instant-contact modality, a way of
Architecture is not only a form, light, sound or materials, but the integration of
perception almost unconscious, which let us understand that hearing is the only sense
everything. (Tadao Ando)
which doesn’t unplugs and is always on constant work. Many architects are unfamiliar
When we talk about sound, it comes to our mind something elemental and common, or unconscious of the infinite possibilities which are to be found when working with
related with the day-to-day. Sound delivers us valuable information on the medium in acoustic intended architectonic spaces. Lights, shape, dimensions, colors, and
which we live, that cognitive process is related with our mental processes of learning materials, among others, are employed for this purpose. But let’s keep Sound aside.
and association, reasoning, memory, judgment and information related to emotion,
With Sound you can realize architectonic creations, a definite intention can be defined,
feelings and even the way of being of things.
a message, but also we can understand the behavior of the sound, as a set of acoustic
Humans live surrounded of sensations which are located in the regular space where he manifestations which as a whole can be the closest to music, which is a very well
or she develops, their assimilation often goes unnoticed as they are recorded on our studied and methodical discipline, created intentional and intuitively by man, that has
subconscious, where one the most important senses is Hearing, also the leading sense qualities applicable to Architecture, which is referred by many as frozen music.
on most occasions.

The contextual-environmental information which we receive through hearing delivers
data on the components of the acoustic environment, The Soundsphere or the set of
characteristic sounds and sound objects of a determined context and its spatial
qualities.

Hearing can provide us with the guidelines to associate sounds with places, objects,
people, colors, temperatures between many physical situations which make us go from
intangible to tangible, but is sound intangible or invisible?

Different physical manifestations can imply or demonstrate that sound posses form,
structure and properties which set them away from the ethereal or the imaginary.

Architectonic spaces often lack of proper or correct acoustics planning, where the
“Acoustic Intention” is the most outstanding characteristic to start to comprehend the
creation of architectonic objects destined to be used by beings which have senses that
go beyond the reach of Sight and the free inclinations towards disposable and useless
aesthetics.

Acoustics is not visible. Acoustic energy is invisible and often poorly represented on
visual terms. Frequently, the vast majority of architects attributes sound or acoustic to
determined spaces, as theaters, opera houses, concert halls, cinemas, auditoriums,
etcetera.

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The perception and the use of the senses is something which has no rules, which is Schafer contends that we suffer from an overabundance of acoustic information and
personal and individually unique for each human being, but we must understand that explores ways to restore our ability to hear the nuances of sounds around us. This
there are situations, objects, different type of shapes, that stimulates us in similar ways, book is a pioneering exploration of our acoustic environment, past and present, and an
setting guidelines to understand themselves as a whole or a society and establish attempt to imagine what it might become
parameters to propose our own designs.
There is no silence for the living.
R. Murray Schafer, in “Voices of Tyranny, Temples of Silence”
We don’t have eyelids for the ears.

We are condemned to hear

I hear with my small ear…

Most of the sounds I hear area bounded to things. I use the

Sounds as evidence to identify such things. If they are hidden, the

sounds shall reveal them. I hear across the jungle, just around the corner,

and, above the hills.

Sound reaches places which sight can’t

Sound dives underneath the surface

Sound penetrates through the heart of things.

If it ceased to take into consideration the things to which it is bounded the

Phenomenology world disappears. I turn blind. I am dragged

Sensually by the vast music of the Universe

Everything in this world has its sound- even the quiet objects…

In acoustics, the sum is equal to a difference

The sounds talk to me about spaces, whatever they are small nor big, narrow

Or wide, interior or exterior. The echoes and reverberation give me

Information about the surfaces and obstacles. With a little practice

I can start to hear “acoustics shadows”, as blind people do.

The auditory space is very different from visual space. We found our selves

Always in the edge of visual space, looking inside of it

With our eyes. But always we found ourselves in the center of

The auditory space, hearing outside our ear.

In consequence, the visual consciousness is not the same as aural consciousness.
Aural consciousness is centered.

I do not find myself always in the heat of the sound universe.

I talks to me in its many tongues.

It talks to me in the tongue of the gods.

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About Composing in architecture

Composing has always been a goal in Architecture, which, in many cases, is simply a Composition examples
random chance or an element surprisingly unthought-of, after having executed a
complete process of design. This is due to many factors, understandable and complex
in some occasions, as the economy, politics, social doctrines, cultural systems, and
etcetera. Composing is a method of individual and personal nature, bounded to the self
expression of a way or a manner to create something, which leads into practice,
reaches its purest state in what we call method.

The architectural methodology is one of the most important tools when we talk about
the identity of an architect for it is the way in which he or she faces a new proposal and
its management, it is a process that, as a response to conceptual and spatial stimuli, it
forms an execution system, that expresses and compliments itself in a proposal whose
creative processes have a sole coherence and a reason to be final, which will be
reflected at the resultant object.

The method is the ideal form to face spatial dilemmas in Architecture, each one Unique
and Individual, being the key to start the creative process, the management of our new
spaces.

First of all, the composition is the root tool of architecture, the order of the elements of
the space is fundamental in the function of the architect, in the way to understand the
environment in which we live, will have its particular processes of observation,
deduction, approach and intuition applied at the same time.

The election and later execution of an architectural method is but a reflection of
influences, studies, ways of being, the person that conducts the proposal, all together
as breakthroughs of personal and essential matter for a creative process that depends
of the criterion of it to apply the adequate method.

The questions that come about when we deal with a new proposal are: why, what for,
what, where, for whom, being all of them important, but they don’t have a reason to be
without a how.

How do we face the challenge that a proposal involves? Which tools area adequate?
Which are the steps to elaborate an architectural object? The response is the Method.

En every discipline that involves creativity the method applied is score, where Music
Sound Wave
can be found, which maintains and confirms one idea, order, that plays a key role not
only in space, but also in time.

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Diﬀerent enviroments and diﬀerent acous c sensa ons
Look through the ears

A cavern and its universe of echoes..

Ar s c representa on of the sounds within the city
The intermi ent movement of people and its sounds

Look through the ears…

The information that the environment delivers us which is perceived by our senses is
the one that participates in our memory building memories, reactions and reflexes are
the way for a response or determined behavior, for particular stimulance.
Distant sounds are mixed with near sounds
When senses are combined, the assimilation of the medium make us fusion ourselves crea ng soundscapes
with our environment and to interact with it.

Sounds are capable of making our senses take part among them, proving us with
sensations, which assimilated in our memory can deliver us valuable and associative-
oriented- information towards the circumstances we are experiencing.

A sound can talk about space, its depth, height, and materiality. The acoustic reflection
can indicate us in which point are we located in relationship with a surface, proximity,
distance, all of these which make sound a basic tool of orientation. The noise of a city is understood with a simple image

In a critical situation, we can compare sound with wind, which assimilate each other in
their invisibility, but, the question is what is really that gives us evidence of their
existence? The answer is in the reaction.

Action and reaction are the conditions for narrowing the sound studio scope, in which
we find according to vectorial geometry, an appliance spot of focus, sound emitter and
one of more receptors or simply varied focuses and one sole receptor. The tranquillity also owns sounds

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Acoustic Focus

Sounds are part of reactions that manifest through waves, mostly perceptible by man,
for we are not capable of hearing all the sounds but a limited spectrum, which is part of
our daily registry, which helps us to associate sounds and sensations according to the
memory and experience.

By understanding the sounds as part of the identity of things we shall start by breaking
down qualities which can give us a hint on how to acquire the sound as a fundamental
tool for our projects. each thing with its sound….

Sound is part both of the ambiguous and the universal but by recognizing the qualities
of sound, proper of each thing; we are assuming each thing posses a sound.

The events, circumstances and sound manifestations can find its purest form in the
beautiful discipline known as Music. The composition in music is very important, if we take it consideration for creating
music, as the basic method for creating music, the musical structure has very different
Music has qualities in its purest state, which are Rhythm, Timming, Harmony, Pulse,
qualities for each style, as music itself, in which we can find guides and components ,
among others, which are fundamental pillars of this discipline which are applicable for
which related inside a score in different ways can generate infinite results, but ideally,
every moment in architecture.
what we are looking for is the planned result, since music is not a random product,
If we put together technical aspects of sound (acoustics) with the configuration of Order made with a purpose and that responds to several circumstances.
of the Music, which is the commanding element of all the sounds, we find a very useful
Culturally music has been an instrument of expression and communication for
way to lead architecture towards our projects goals and achieve in many different ways
thousands of years, which keep us related to architecture. On its purest state music
Harmony.
delivers personal sensations which can be shared, according to our understanding and
collective memory.

Music structure pretends to narrate a fact through time, since each music piece has a
beginning and a determined end, but it is there where it turns interesting, as music has
the ability to keep in our mind, as a melody, rhythm, phrase, etc. And that makes us
part of a transcendental and memorable occasion, which make us think that our
architecture must endure not only physically but also sensitively.

Each component of our architectural objects that range from a chair to a skyscraper
has its own language and qualities; it has its own composition that makes it unique,
with similitude with music, rhythm, frequency, proportion. Briefly, it all consists of a
structure, not only in terms of function of use but also of its concept.

The conceptual will be the guide to define our proposal, with a more delicate eye
towards intention and the expression of idea and architectural concept.

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The Search of the concept inside of Sound

Urban Space in Kobe, Japan

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The Soundscape Concept
When heavy noise frequently occurs in our surrounding the human instinct is to stop
the noise, or at least stop the noise from reaching our hearing sense. When the later
Defining Soundscape
method is used, whether it is by holding your hands over your ears or by using
The term soundscape originates from the early 1970s and the work of R. Murray
headphones designed to block external sound, all sound disappears, even sound that
Schafer and his colleagues at the Simon Fraser University in Canada .
we need to maintain social and contextual awareness.
The definition of the word soundscape is “an environment of sound” with emphasis on
Research has shown [3] that staying for a long period of time in an environment where
the way it is perceived and understood by its community and the individuals present.
sounds are completely absent causes a feeling of isolation and insecurity. Man
The use of the term soundscape in this article will refer to an artificially enhanced requires a background of sounds for normal functioning and also for satisfaction .
sound based environment. Four different classes of sounds emerged from the studies
Conclusions on the study made on the research center and Acoustic of the Internoise
of Schafer. These classes were:
company of August 2009 Ottawa Canada.

• Keynotes

• Signals

• Soundmarks

• Sound romances

A keynote sound is the tonal centre of a soundscape. For example the keynote of an
ocean town would be the sound of the sea. The hum of the computer hard drive is the
keynote for many of our work environments. An infrequent and also alarming
informational sound is classified as a signal. A police siren or email alerts are typical
examples. A soundmark is the acoustic equivalent of a land mark. It sonically
distinguishes and identifies a particular location. Finally, sound romances are those
sounds that inspire a feeling of for instance nostalgia or remembrance. The different
classes of sound described above are important to remember when creating artificial
soundscapes. The user shouldn’t for instance be presented with a soundmark that
differs from the actual location of the user.
Dangers of Noise vs. Silence
When considering noise in a work area from the perspective of the workers habituating
it you might ask what this is doing to the workers and their ability to perform their tasks.
Roland Rylander who is a researcher in the field of environmental health says that a
common reaction of noise is a feeling of disturbance of ongoing activities such as work
tasks. This feeling is usually referred to as “annoyance”. A long-term exposure of noise
can however lead to more serious effects such as strong feelings of exhaustion and
defeat.

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Dimensions and perception in the soundscape

The figure exposed above shows the sensations that are experimented in a city inside
the soundwalk or urban trip of the sound using four key concepts for meditating in the
sound landscape:

Cacophony: mix of negative sounds

Hubbub: mix of positive sounds

Constant Sound: that doesn’t change and is permanent in the environment.

Reprieve: short term changes on sounds.

The organization or position of the different elements are organized in tow main axes:
cacophony and constant repriev that will change and evolve, interacting inside the
soundscape.

The change, the evolution and dynamic change of the different sound sources will have
its music in axes, for example:

Train, voices, water, heels, bells, air conditioning, airplanes, brakes, people selling,
traffic, lights, alarms, metro, speakers, paper and plastic bags, music, construction,
maintenance, bicycles, small children, buses, incidental sounds, market, mechanical
noise, natural sounds, people in general.

All these components are an analogy of the way in which instruments blend into an
orchestra, which can be related in the change of punctuation in music, but the question
is, which of these elements give order to an urban symphony?

The language for interpreting this situation we can find clearly in the Music, due to its
aesthetic way of representing sound.

For composing with these elements it must be considered the search of a positive
environment where the sum or rest of the components and its adequate organization in
the landscape has as a result the vitality in the mixture of sources of sound and its
mutation inside the course of time.

The relationship between architecture and sound begins to turn clearer, when we get
close to the basic concept of Composition, which deliver us elements for ordering then
in terms of time and space.

Urban Noise

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The different fields of investigation must have a conceptual frame in order give form to
possible theories that give strength to the subject of soundscape. For example, putting
individual sources inside a spatial area, each source has its properties potentially
variable and quantifiable, as intensity. Each source interacts in the landscape for
producing the global effect that we get to hear in the end.

One of the most simple aspects to evaluate in a city or urban situation, is the activity,
which is generally supported by the purpose it is aimed for that is the elaboration of a
route that, generally, the elaboration of a route is a study of the fundamental pillars for
demonstrating the theories that come from determined studies for each urban
component.

Inside the study routes it is very important to set the objectives and measuring
parameters that must operate based on the objectives of our architectural proposals
linked to the Soundscape.

Some study parameters can be resumed in some specific points, for example:

What is being heard in the moment in which the study takes place?

Which are the attractive or focus points in the area?

Outstanding aspects of the place

Main orientation points

Mechanisms of operation of the place

Aspects that have more influence in the Soundscape

Qualities and character of space

Types of User

Inside of what can be marked as study points, it is important to focus the attention on
the perception in human awareness of the environment of the city, for example, to
study the possible stimuli of the landscape of making the user feel and determined
scale of qualification, for example: calm, relaxation, commodity and tranquility, vitality
and excitation, sympathy or apathy among others.

Moments on the city…….

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The sequencer of Sound Space

The components of a city are very similar from one to another, but what makes the
difference is the order where they are available in the landscape. Each one has its own
essential characteristics that distinguish from its equals.

In the cities, one of the most important study cases is the urban circuit, which
corresponds to a fundamental characteristic of mobility of each urban landscape.

Each urban component has its reason to be and the determined position that created
for the function that fulfills as natural it is part of dynamic plot in constant move and
changed through time is also part of a urban sequence of facts that responds in
different ways to each user in the city.

Fundamentally we must understand the city as a mean in constant movement despite
having components apparently static but: where is the movement and where does it
manifest? The urban user is the one that determines the daily mechanic of the city,
giving shape to the connection between the components.

The urban connectivity in occasions use to have a discontinuity that generates urban
vacuums in which the use transforms into a spontaneous and improvised urban
recycling, going from transforming the different places of the city, due to the lack of
physical consistence in the programming of the components, these places known as
bomb-sites and belong also to a hidden grid inside of the city, but are responsible of
breaking the basic urban sequence of pause that belong to the use.

The urban sequence is constructed by qualities that are moving and mutating space
after space, like an armed chair by the characteristics of each urban area, for example,
a commercial area will be followed by a pedestrian area which will be connected with a
plaza, a parking lot, a bus terminal, a train station, etc. which is not a rule to follow on
its self, but according to this example, what is the link between each component? The
use is the factor to be analyzed as it trespasses from one zone to another, transferring Pedestrian ways , plazas, railway sta ons,
Bus Stops, Streets..Some urban components..
utilities and necessities, like the pause, the promenade, the search, the transfer, etc.

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Esthetic Language of Sound
Music and Architecture

Esthetic Language of Sound

The sounds associate with events that have an essential meaning, which is proper of
each object and situation. Architecturally, there is evidence of a difficulty, a lack in the
use of the language to be represented or describe the sound and the soundscape
among all. This lack of language can refer to the need of an esthetic of sound and that
maybe reflect the predominance of the visual in the design and conceptualization of the
environment.

The Partiture

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Rhythm
Music and Architecture
concepts
Urban sound walks spectrum .The images, below, In a general way rhythm is a flow of controlled movement or a measured one, related to
represent the sound files those sounds produced, sound or sight, generally produced by a sort of different elements of the environment.
digital noise-maps of urban space.
The rhythm is a basic characteristic of all the arts, especially music, the poetry of
dancing. It can also be detected in natural phenomenon. There is rhythm in infinite
activities that govern the existence of all living beings. Those activities are related to
the rhythmical process of the geophysical phenomenon like oceanic tides, solar day,
moon calendar and season change.

For architecture, the rhythm transform into a complex tool that generally is linked to
factors unthought-of and related to chance, but if planned it can obtain controllable
results that will provide that quality tool in order to wield in every moment while our
projects turn to life.

Order in music is an aspect that must be understood as it is necessary and inherent to
architecture, our labor as architects is to order space, inhabit it and understand
it, its expressions, its conformation, its chemical state and above all its condition of
every changing environment, sometimes dynamic, sometimes static, but always been
read in terms of movements.

From the minor scale, from the individual to the general one, man has movements proper of
its necessity and objectives, that from a chair to a city street in the city, they will be an
implicit response in time with a beginning and end and in a specific spot in space. It is
like that how human behavior before the daily bases is governed by temporal rules,
that blend the act and the presence in the different places of our surroundings, like a
street, a plaza in the city, a bus station, a magazine kiosk, etc, each on with its own
rhythm and each one surrounded by rhythms according to function and use.

Many architects overlook, according to scale, the rhythms in a city where the urban
planner generally dismiss small things, like a dead end street, a narrow sidewalk, a
traffic jam, etc, overlooking the mix of situations that exist daily where one of the most
determinant aspects will be mix, fusion and clash of rhythms.

Speaking in urban terms and making reference to what is necessarily obvious, the city
is a true symphony of hymns, each one responding from an individual scale until we
find what is collective; the people, the cars and bicycles, the magazine seller, the pizza
delivery boy and even people drinking alcohol in the main plaza have their rhythmical
behavior, that determines the daily variations of the environment in which we develop.

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Rhythm in music refers to the frequency of repetition, at regular intervals and in certain
irregular occasions of strong sounds and weak ones, long ones, brief ones, high pitch
and low pitch ones) in a composition, that composition can be translated to Architecture
in a very simple way: that composition that can be translated into architecture in a very
simple way: the architecture is a composition that will be part of the final work. Under
my personal philosophy architectural must not generate by itself, like an sculpture or a
piece of complacency.

The Architectural rhythm has, like any living being, a structure that makes it a temporal
essence, that make places unique.

The Musical Rhythm is closely related to the user’s moods, to different conditions, that
can be controlled if they open conceptual doors and techniques. In a general sense, it
is a flow of movement controlled or measured, visual or sound related, generally
produced by the order of different elements in the environment. Rhythm is a basic
characteristic of all the arts, especially music, poetry and dance. It can also be detected
in the natural phenomenon. There is rhythm in the infinite activities that govern the
existence of all living beings.

Rhythm has a lot to do with defining the compass, the type of compass that defines the Ritmic pattern
accent and the music figures that compose it. If we make a simply analogy as an
example, the accents can be exemplified in the events or functional milestones and if
we talk of a city like a score or stave, these will be represented by plazas, bus stations,
pedestrian crossing (people walking), etc.

In Music, rhythm is written with a stave only with the defining musical figure of the
length of the pulse. If musical notes are added to the stave sounds appear. By adding
the accents, figures and defined compass by the rhythm, the melody emerges. In other
words, the rhythm is supported by the accents, according to the structure given. The
melody gives shape to all of this.

ordered elements in the timeline

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Harmony

The term harmony comes from the Greek ἁρμονία, that means “agreement,
concordance” and the verb is ἁρμόζω (harmozo) “adjust, connect”.

The term harmony has many meanings, musical and extra musical ones, among them
architectural in essence, related in some way with other. In general, harmony is the
equilibrium of the portions between the different parts of a whole, and its result always
connotes beauty. In music harmony is the discipline that studies the perception of
sound in vertical shape or simultaneous in form of chords and the relation that is
established with those of his environment.

Like all human disciplines, the study of the harmony presents two versions: the
descriptive study, that helps us to understand the environment and its existents
moments at the moment of observation and the prescriptive study, that is, the condition
of understanding the equilibrium of future interventions where the proportion, scale,
use, time and space, that will have to be considered, among others, like rules for
harmony.

mathematical and rhythmic progressions forming the harmony The study of the harmony is only justified in relationship to western music, as the west
is the only culture that has a polyphonic music, that is, a music that is used to execute
different musical notes simultaneously and in a coordinated way. This way, the study of
the harmony can have a scientific base, the norms and descriptions of the harmony
have a relative scope conditioned culturally. This example to technical rates and a little
boring, it is key for understanding how delicate the interpretation of the soundscape are
in different cultural, social, weather conditions among others.

To make harmony universal is a very delicate subject and it is difficult to achieve, for
we can’t stop considering that harmony is a cultural subject too.

In Western music, harmony is the sub discipline that studies the concatenation of
different superimposed notes, that is: the organization of the chords. It is called chord
in combination with one or more different notes that sound simultaneously, or that are
perceived as simultaneous, though successive, like in an arpeggio, that in terms of
architecture, become dually, complex, subtle and helpful, as the simplicity of 3
elements, can give us an approximation of an architectural method, usable and
applicable if we loyally respect the conditions of harmony from the minimum, for
example, the points that are needed for a plane, that is three.

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Can we generate our own chords in our architecture?

The harmonic combination is mandatory function of the Architect, that doesn’t pretend
being sculpture or using the architecture as an excuse for art, the construction of new
spaces through existing spaces and that of the existing will be the first step to achieve
it.

Melody, counterpoint and harmony are totally interrelated. Traditionally, harmony works
as escort, shell and base of one or more melodies. The melody (horizontal dimension
of the music) is a succession (trough time) of sounds belonging to chords, that are
enriched by sounds that adorn and soften , and produce expressive effects,
complimenting the previous ones thanks to the subtle one that engage the chords in
which that melody is based (integrating in a perfect way the harmony).

The Ianis Xenakis Example Sainte Marie de La Toure e is a Dominican Order priory in a valley near Lyon, France designed by the architect
Le Corbusier and Iannis Xenakis and constructed between 1956 and 1960. Le Corbusier's design of the building
One of the most graphic example and literal texts and extremes of the sound and began in May, 1953 with sketches drawn at Arbresle, France outlining the basic shape of the building and
[1]
architecture relationship by means of musical language is the work made by Iannis Xenakis, terrain of the site. La Toure e is considered one of the more important buildings of the late Modernist style.

Greek composer and architect, who experimented with the rhythmic decomposition and
musical series and compasses, standing the individual behaviors of each element, called
event, establishing its own probabilistic and statistics laws, composing in base of the lineal
order. He used to transform polyphonies in dense acoustic masses, with a conception of the
time and space enough to generate and create atmospheres with his music. Inside his
philosophy he formulated the existence of sound events formed by thousands of sounds
isolated from a multitude of sounds, as a whole, that is a new sound event on its theoretical
conception. The articulation of the massive events, on base of temporary flexible molds has
been one of my inspirations in this experimental challenge. Metastasis, also ''Metastaseis'', is an orchestra
work for 61 musicians by [[Iannis Xenakis]].
His first major work, it was written in 1953-54
One of his main works is the convent of Sainte Marie de la Tourette (1953), worked together after his studies with Olivier Messiaen and is
8 minutes in length.
with Le Corbusier, it main contribution was the harmonic and rhythmical progression of this
projects, which has very characteristic strokes of a music score on its early stages, showing
figures rhythmically aligned, vertical elements defining spaces, mathematical geometric and ''Metastasis'' was inspired by the combination of an Albert Einstein|Einsteinian view of time and
harmonic succession, of simple and dynamic frequencies. Xenakis' memory of the sounds of [[war]]fare, and structured on mathematical ideas by Le Corbusier.
Music usually consists of a set of sounds ordered in time; music played backwards is hardly
recognizable. Messiaen's similar observations led to his noted uses of non-retrogradable rhythms;
Xenakis wished to reconcile the linear perception of music with a relativistic view of time. In warfare,
as Xenakis knew it through his musical ear, no individual bullet being fired could be distinguished
among the cacophony, but taken as a whole the sound of "gunfire" was clearly identifiable. The
particular sequence of shots was unimportant: the individual guns could have fired in a completely
different pattern from the way they actually did, but the sound produced would still have been the
same. These ideas combined to form the basis of ''Metastasis''.

17


Frecuency

Frequency is a measure used generally for indicating the repetitions that in every moment or
periodical events in the unit of time.

The frequency has an inverse relationship with the concept of Length of Wave (see graphic 1
and 2) a mayor frequency shorter length of wave and vice versa. The frequency f is equal to
the speed v of the wave, divided by the length of wave called wave λ (lambda)

The frequency in architecture, it is equal to other aspects of order, like rhythm, one of the
systems of measure forgotten at the moment of observing, especially when it deals with man
and the use that gives space inside the line of time.

Each persons, each situation, presents a distant frequency, conditioned by factors, like work
schedules, the time of lunch, wait for the bus, the relaxation in a plaza, the bicycles in a
corner, etc. speaking in urban terms, the frequency will be a dynamic element, belonging to
each thing, master of temporary patterns and predictable situations, that help to understand
with ease the daily succession of facts, acts and events that construct a daily dwelling.

The acoustic representation of waves gives us a basic idea of the fluctuations that can be define in PH Ar choke (1958) is a 360-degree glare free luminaire
created by 72 leaves, which shield the light source,
a city, conformed by patterns that have its structure of high and low pitch, acute or bass, as redirect and reﬂect the light onto the underlying leaves,
giving dis nct, unique illumina on. The PH Ar choke
for example the comparison between a pedestrian and a transport vehicle. But beyond the
is considered to be a classical masterpiece made by
comparisons, the frequency is generally the accumulation of situations in a determined Poul Henningsen more than 40 years ago.

moment, if we talk in urban terms, situations inside the temporality of seconds, days, months
and years will have their own configuration, its functional tone height, its moment or peak, its
climax, its depression an example of it, by example it is what happens in the plazas of the
world in a city, where the frequency of spatial events, in the dynamic condition, finds
moments of pause that will have a determined frequency, like a serious plaza, where the
promenade and the dynamic of the pedestrian and the city, changing the sense, the rhythm,
its transforms and acquire a curve in its peculiar way of understanding architecture called
frequency.

18


Scale

In a general sense, what is called musical scale is the ordered consecutive succession
of all the sounds in the particular sound environment, inside a simple and schematic
way, these sounds are willing in ascending way (low to acute) though in a
complementary way in descending order, each one in specific position inside the scale.
Room Inspired by fractals
The architecture, a scale could be assumed like the spatial proportion existing between
the components of our media. The hierarchy applied in the extremes of urban tensions
and its order, the succession of events related between them and united by spatial
conditions in common, like for example the promenade in a commercial avenue and its
shop windows, the sequence of use formed by the purchase, the promenade, the
permanence, the departure, the arrival, the approximation.

The practical schematization of spaces will give way to the architectural melody,
embodied in the use and inside different scales can happen at the same time creating
spatial dissonance in some cases.

When a scale starts to get bigger the implicit appearance of the arpeggio is the real
ramification, from time to time of fractal nature of the situations and facts in our
environment, in the space. The arpeggio in the music is bounded to the execution, this
comes from a questions: who executes architecture? Ideally it should be the man, as
user and receptor of our proposals and those of others, but what if we are executers
and interpreters? In the discipline called Architecture we must have the capacity of
interpreting and executing, obviously with the implicit observation implied in order to be
able to achieve harmony, in case of that being desired .

19


Architectural Aim

Inside the analyzed topics and proposals inside the conceptual framework, the
elaboration of an architectural method applicable in a specific context is proposed, by
using the theory terminology and personal conclusions as design parameters.

The way in which the different elements, like rhythm, harmony, frequency, sounds
cape, scale, arpeggio, among some, deduced from the analysis and observation of the
urban context will be applied as a translation or conceptual interpretation by
transporting the most remarkable aspects of an architectural object.

The main idea is to use each concept as a flexible rule, manageable and adaptable by
transforming the theory of these in methodical design guide as an spatial analysis
instrument.

In this experimental proposal, where architectural theory, philosophy and observation
merges; this method as tool that embraces urban scales in different levels, from the
general to the particular, ranging from a city to human scale, maintaining the character
of composition, linked to music with its high and low-pitch melodies altogether with the
melody in the city, its changes, nuances and components, its configuration, direction,
temporality, among others.

Sound as conceptual axis helps us to comprehend from other point of view the context
in which we formulate and we place our proposals, as a new adaptable object of the
environment and above all as a background of spatial comprehension.

Urban lecture will be focused principally in terms of space proposed in the theoretical
framework with its basic inclinations, techniques translated to simple acoustic and the
generation of sound environments (soundscape).

To sincronize this study the creation of an adaptable project for the city of Lund,
generated with the mentioned instruments to try to demonstrate the application of this
theory through an urban renewal plan of the selected sector.

20


Choosing a Site

Inside the urban context, personally my interest and fascination aims towards the
concept of “the plaza”, as an spatial component inside the flows of a city.

The pause and the walk are both a characteristic axis of every urban space and plaza,
they are that little variable space with proper rhythms of the city in which we live.
What’s interesting about the plaza concept which each of them might have, that makes
it an spatial entity, is that for some people basically it is composed of trees and
furniture for supporting the back and resting, but with and architectural eye, the
richness of living sensations that make us get out of the sound and movement of the
city inside spaces tensed by its functional axes which respond to the need of transition
between dwelling space is simply sublime and unique.

The plaza delivers us a common factor for the city or “barrio”, where the function of the
spatial patella for understanding the reason to be of these objects.

The quality of the plaza as an urban component and architectural object is one of the
inspirations that give a soul to this project, basing mainly in the condition of
intermediate space, which inspires something more in the conceptual and functional
interpretation, emerging a question like: can we create a plaza that connects in
different levels the city? We can take the basic elements of a plaza and use them in a
functional composition. From this surges the idea of generating different types of pause
inside the city and transform them into an object with the qualities of a plaza using both
the pause and the walk as structuring elements. For that purpose three contiguous
places have been chosen in the city of Lund, in the context of Ban Torget, close to the
train station of the city, the three places reunite the conditions for the proposal.

Strategically the location of the chosen sites have an spatial richness according to the
exposed theory in the manifest, with diverse components and the dominant character
inside the city, like the train, commercial avenues, massive flow of pedestrians, traffic,
etc. And mainly the spatial physiognomy of urban pause spaces, from a plaza to a
cemetery moving through an unifying element, that moves the pedestrian to inhabit
different stages of this urban scale, proposed for uniting two important zones in which
the city looses continuity, that is why the proposal has been baptized with the name of
Urban Interlude, which in natural music terms means: “music piece located between
two parts of a same work.

21


The Site
Ban Torget Area, Lund Sweden.

22


Urban Situa on

The most important pedestrian way
marked with the arrow

23


Urban Situa on

The first Formal Intentions.

Pedestrian Rythm in Lund

Geomettric references of the Site

24


The Sketches
Urban Interlude Proposal

Formal Study

Urban Renewal Intentions Inside the proposal

25


The Sketches

Geometric analysis and design
and approach.Inspired by Le Corbusier.

26


The Sketches

Zone 3 Zone 2 Zone 1

27


Urban Interlude
The Proposal

28


Zone 1

Spatial characteristics general and architectural object

Following the axis of the pedestrian walk and respecting the existing diagonal in the
Ban Torget, adapting the function to the first plan, like a dunk gallery towards the
exterior, with the objective of creating interaction with the pedestrian frequently from a
train station and from lilla fiskaregatan engulfing the walk in a visual interaction and
coaxial to the sense of urban ways of human transit.

-The proposed functional axis

Hall of events and expositions of two levels and amphitheater located in Ban Torget.

Conceptual framework
-Design Parameters

Rhythm
Direction and orientation of the pedestrian ways

The pedestrian transit and flow that surround the Ban Torget plaza suggest a circular
Heights to be proportional to the function of the plaza and acoustic proposition
movement, that is framed by a diagonal self traced in the center of the plaza by human
Change of levels in the plaza for the generation of acoustic environment erosion of the pedestrian altogether to the spatial distention generated by the
decompression of the urban scale at the moment of getting out from Lilla Fiskaregatan,
Pedestrian runway accessible from the commercial avenue (Lilla Fiskaregatan).
the pedestrian meets with a blend of rhythm, in a dialog generated by the bicycle roads
-Spatial program and its cyclists, the urban transport and approximation, most of the users of the train
station in direction towards of the city.
a. Multiple use areas for exposition and events of formal urban and informal call
The main axis, Lilla Fiskaregatan expresses a continuity that is broken and dissolve by
b. Urban amphitheater, plaza decomposed in levels, proposal for gathering the urban
the plaza Ban Torget, where the proper rhythm dragged from the continuous pauses of
pause inside a public character informal space, the expression and reunion and the
an avenue dedicated to commerce, it loses its physiognomy, this because of the
generation of an acoustic space of comfort.
proposal to reconstruct the lost rhythm, generating the elongation of the transporting
line of people through a runway that in is development will have implicit too the pause
in a different and focused way towards the connection of the proposed buildings.

In formalistic terms the rhythm will be translated through vertical elements and those of
ordering spatial hierarchy, like pillars, circular axes generated by acoustic structures,
lines defined by walls and new pedestrian ways, among others. The compasses and
urban sequences are framed by commerce and massive translation of people in the
train station and are synchronized within the timeline erected inside the project,
translated or represented on the pedestrian runway.

Anﬁtheatre sketches

29


Frequency Soundscape

The behavior of the pedestrian walk is one of the most important aspect of the The open space of the Ban Torget and its environment, it is a condition of the city,
proposal and it becomes the generatrix of a large part of the project, the succession of beyond the situation of the neighborhood. As each one of the sites chosen for this proposal, it
pauses and linear tours that break generating new spaces, like the case of Iilla is one of the principal ones in reference to the pedestrian and spatial decompression
Fiskaregatan, in contrast with the streets around it. Like main axis and latent that takes place at the moment of walking by Iilla Fiskaregatan, by finding inside an
connection between the city center and the beginning of the urban division, marked by acoustic tunnel which crawls all the way this commercial way, the acoustic dilution that
the train station and its divisor line, which obviously inspires that continuity that the site start to take importance as we approach to the site and find a group of undefined new
needs through that linear barrier. The use of the Ban Torget plaza is nowadays sounds generated by the diverse functional situations in the place. What is proposed in
undefined in terms of Order, so it is proposed to reorder the plaza, keeping its condition terms of soundscape is to isolate the noises and generating a new environment, in
and generating new spaces according to the tour, like the interactive gallery, open terms of vectors distributed for generating a new acoustic environment, cleaner, more
towards the main diagonal in function to the direction and sense of the urban user of defined and with more intensity for producing a moment inside the translation inside the
the site, having into consideration that one of the strategic objectives of the position of city. The inspiration is born by the observation referred to the tunnel has set the pace to
the areas of the proposal is to attract the pedestrian towards the interior of it without work with this idea of the urban prolongation and renewal implicit to it, helping at the
any struggling in between. same time the generating idea of a thematic pedestrian runway with its own acoustic
content, adding an extra soundscape inside this architectural object that will provide
Harmony
different acoustic sensations in the translation of the pedestrian and minor scale
The Urban Scale happens in this new rubric, assuming the existing proportion in terms distension by mixing the new walkways with the existing buildings, in a functional and
of heights and hierarchies, the space generated by the buildings in the complement to conceptual way for incorporating the city to the project and the project to the city.
the empty space that starts in the site of the proposal that works as a guideline to start
to work this transition in harmonic terms of shape, for example the proposed heights in
the amphitheater and its function in relation to the pedestrian movement, the
equilibrium between the parts of the city and the proposal are to be expressed in the
defined strokes by use and existing function, with clean geometries deduced or
inspired in the movement of the site.

The proportion between the parts is to be determined by their objective and according
to the intention of the place, for example, bleaches for a maximum capacity of 400
people in the amphitheater area, or meeting spaces roofed at the interior by galleries,
for over 200 people.

30


Zone 2 Spatial Program

Spatial characteristic and architectural object a- Multiuse program building focused towards the use as gallery and urban
commitment towards pedestrians.
Inside the existing function in the place, comprehended by the train station the
b- New parking underneath bicycle level
contiguous area to the subway, there is a space rich in spatial situations in terms of
c- Renewal of the bus stop area
urban walk and pause, by example, the bus stop, the bicycle transit, the arrival of new
d- Terraces and new contextual communications through several mini runways
passengers to the train, the use of any bench for resting, etc. all of these lacking a
and stair of urban interconnection and of the proposal itself.
proper spatial definition which is to be proper if the vocation of detention in the urban
e- East runway: Access arm for interconnecting the proposal itself with the city
timeline of the site. The spatial tensions between the station and this corner in the city
through the connection with the station the participation in the layout generated
indicate a good space foe rehabilitation and renewal of this urban continuity at an
in the proposal.
urban scale and the one of barrio or neighborhood with the incorporation of a new
f- Min waterfall and pool next to the west runway.
proposed use in the site. Inside this parameter the proposal will have its main building,
generating in this proposal a layout which corresponds to the new planned compound.

The proposed functional axis

Gallery of three levels and bistro located in the west end of the train station of Lund by
arriving by the subway, the incorporation of the renewed bus stop area terraces and
having it reformulated, waterfall and water mirror next to the side arm of the runway,
new and reorder bicycle park.

Parameters of Design

Inflect the crossed linearity, composed of the axis of Lilla fiskaregatan (east – west )
and Ban Gatan (North – south)

Connect walkways by runways and the incorporation of the building to the city.

Clean the surrounding pedestrian connection by the fluidity of movements of the urban
user.

Generate a space of inflection of the proposed height or levels, through elements of
acoustic intention for the creation of the soundscape capable of delivering the
sensation of fusion between the city and the proposal.

Maintain the language of the vertical elements that respond to the virtual geometry and
the existing tensions between urban silences, by means of empty and filled spaces
functionally adapted.

31


Conceptual Framework Frequency

Rhythm The temporary daily patterns, marked by the schedule of train arrivals, the lunch hour,
the closure hour of stores are not different from our general knowledge, but by
The public transport and train user, plus the people that lives in the spaces of Iilla
delimiting and defining them in hierarchal order it is a good exercise for finding the
Fiskaregatan, as both commercial and pedestrian strategic way have one common
correct way to dimension and position our proposals, as we have mentioned the
orientation with directions the crossover in order to create a body of human acts,
pedestrian is the main character of this experimental thesis. In Ban Gatan we have a
marked from the diagonal of the Ban Torget plaza by the translation from this city
key element for understanding the composition of the site in terms of frequency, called
sector to the east sector in Trollebergsvagen through a divisory line described by the
dynamic use, where the acts belong to a predictable pattern that repeats day after day,
railroads. The cited urban sequence is divided in different acts that repreent the
with schedules and weak variations enough for understanding the functional and
detention, like rest at the plaza, wait for the bus, the buying of a train ticket inside the
spatial physiognomy that ranges, from small scale to big scale, from the train station,
train station, the cab, the street billboards, the street musician, all of them contained in
having it equilibrium point in the corner formed by Ban Gatan and Trollevergsvagen.
different spaces and disaggregated for promoting the loss of unity and the lack of an
Having said this, it is proposed to balance this situation and feed the residual space in
unifying element or sequencer element, physically defined in this routes. The route of
urban term, by giving it a function and a defined spatiality.
the human street flows and vehicle ones are marked basically by acoustic sensations,
carried by the coming and going, going in and out, moving and stop, which without Harmony
ceasing to be ordinary situations, loose this physiognomy and rhythm by meeting with
Proportionally, the empty space between the train station and the corner marked
Ban Torget that dilutes the condition for facing the city in a new way in a vacuum non
between Ban Gatan and Trollevergsvagen has a harmonic structure in physical terms,
respondent to the occupied space that generates it and its activities. Every situation
but without functionality, according to the patterns mentioned above where the
acquires more strength by reaching the main axis of the project, where the
equilibrium between use and user has a tendency focused towards leaving the place
disconnection becomes bigger because of the presence of Ban Gatan, that breaks any
and using this rich space as a permanence space of reduced temporarily, which make
possible continuity. The general idea in terms of rhythm is to surround the new building
it loose presence of use and connectivity. It is proposed to equilibrate these situations
with this rhythms through a function coherent with the pauses and walkways, like a
with a space that receives and hosts the activity proposing the diversity of the
gallery, a balcony, a restructured bus stop, a thematic runway and sectioned according
walkways, with a permanent and structuring equalization of the transition towards the
to its accessibility towards proposed buildings.
east sector of the city comprehended by the small cemetery, the police building and
the residential area around Trollevergsvagen.

Soundscape

The disturbing acoustic of the train, plus the permanent distraction of the collective
locomotion, in the generation of an acoustic environment, that take us to the conclusion
of creating a defined space in terms of sound, as it is a close building, but it is critically
the contraposition of the idea of participating with the city, for what the acoustic impact
has been carefully studied as also the possibility of a location and strategically located
for creating an open building towards the city that it is not influenced by an eventual
situation of noise or cacophony. One of the parameters to follow is isolating in acoustic
terms the area that faces the railroad and creates a new acoustic environment
disposed in vectors with vertical elements that create a sound tension between the
existing buildings and the proposed buildings, as the elements of isolation form an
important part of the design of the proposal.

32


"Space Program
Zone 3
Library public use of three levels.
General spatial characteristic and architectural objective. Acoustics Plaza
The last track gateway
The rehabilitation of the area and the proposition of a new physiognomy,
New green areas
restructuration and rethinking of the east sector between the railroad and cemetery, the
Small Square
last track of the runway from Ban Torget, generation of the major link towards the area
Pedestrian access
of the train station in its back access, acoustic plaza, mini runway sideway access,
incorporate urban connection elements towards the project and acoustic response to
the presence of the cemetery.

- Proposed Functional axis

Responding to the constant acoustic degradation presented in the proposal, from a
noise in the city to the cemetery’s silence of the Sankt Peters Klosters, the creation of a
space dedicated to resting, in this case it has been chosen the installation of a library of
public character in the site and more marked resting spaces, belonging to the change
of rhythm and direction of the proposal, as some are areas dedicated to contemplation,
open lectures, acoustic isolation of public spaces and a treatment isolating similar to
the central building, for isolating the sound in a railroad.

-Parameter of Design

Following the line of the runway and adapt it to the geometry comprehended in the
cemetery.

To treat acoustically the dedicated areas to spaces that will mark the more significant
pause of the proposal following the logic given by the degradation of the acoustic
intensity.

Defining the encounter between the station on its backdoor and the proposal keeping
the autonomy of the proposal in spatial terms.

Connect the plaza between byggmästaregatan and trollevergsvagen and other urban
external spaces to the body of the proposed object by using the walkways and
pedestrian ways.

33


Conceptual framework Harmony

Rhythm The proportions of this space are consistent with the presence of the church Sankt
Peters klosters, as predominant contextual characteristic element, accentuated in the
The third space to intervention is comprehended by the railroad and cemetery of the church
proposal, setting free the area which nowadays is a parking lot, transforming it into a
of Sankt Peters Klosters, characterized by its acoustic condition and the solitary position in
plaza, also focused to unite the back sector of the train station of the trains in the new
the urban landscape, this area has different spatial qualities according the proposed method,
spaces. Harmonically, the city keeps its scale according to the extension of the site of
the spatial distention and the rhythmic perception of the city, they all decay at this point to
the landscape, accesses and street will be proportional to the use and the urban scale
offer us a moment of rest from daily routine, like an oasis of lost sounds, interrupted by the
of the proposal according to the gradually mentioned above.
sound of the train. All of the mentioned above would have more strength if the enclosed
rhythms inside the city and in the proposal could be touched or being tangent to this space, Soundscape
but the accessibility of the place lacks of a formulation that allow us to live its qualities, for
The silence, the calm, tranquility, are very similar terms, that pretend using this new
this it has been proposed to make flow new walkways from the access point to the cemetery
transition of the proposal on itself, that proposes to liberate the spatial tension in an
to Ban Torget incorporating new ways to move or transit by the site and he generation of a
space dedicated to de functional distension and architectural in structural and acoustic
new spatiality that gathers or reads that existing urban pause. It is proposed to feed the site
terms, the isolation of the urban sounds is to be kept with more strength, creating a
with new pedestrian connections, at a runway level, balconies and small plazas, around the
new space (the acoustic plaza) evocated to carry the calm condition of the library to an
proposed new space that will be a public library, evocated and focused to the urban vocation
open space more engaged with the city. The cemetery Sankt Peters Klosters will help
of the site, that is the pause in all its plenitude, proposing an interesting duality the pause as
this condition, plus the vacuum comprehended between the church and the train
beginning and end of the walkway on the inside of the proposal. The formal rhythmic
station and its subway parking.
interpretation will be present at the vertical element that start to distribute for creating semi-
open spaces and virtual thresholds created for making this spatial filter and acoustic one at Pedestrian Runway
the arrival of the proposed object.
The over crossed lines by the pedestrians represent the proper diversity of common
Frequency movement inside the city, the improvisation, the union of the points through the logic
straight lines, inherent to necessity, caused by the human erosion by use and instinct.
The travel through the timeline of the new object, the successes or events that occur in the
space have different variables, proper of the walkways, fed by the active and dynamic When the urban lines of frequent transit, by urban planners or the user itself and are
pauses, with defined functions and determined. Intentionally in the three sideways of the defined by the point to unite, the first we must do to comprehend this situation is, try to
proposal, marked by the runways, it is pretended to introduce the pedestrian in a gradual focus on the physiognomy of the component of this situation, try to focus in the
way and interesting in terms of spatial situations of spatial richness like changes of light, of physiognomy of the component of these virtual bridges, the variables of the course and
acoustic qualities, new environments and rehabilitation of urban components. In this zone of detention or simply the functional structuring functional elements, welcomed by the
the proposal the frequency will be defined by the use and the function, constructed by the creation of a way open to transit inside the city. One very particular situation happens
plazas, terraces and libraries translating a large part of the Ban Torget to this newly when the lines converge in points like plazas, main streets, civic centers or commercial
structured place. The library, for example, will gather the use situations related with the ones, but it is also particular find ourselves with streets, avenues or parts that
different acoustic frequency, for example it will gather the use situations related to a different culminate simply in nothing, disintegrating the frequency and the urban rhythm, giving
acoustic frequency, as it is the reading inside a library and the spaces that surround this an harmony disproportion that dissolves the structure of a body like the city, that needs
central proposed activity. integrated and linked spaces.

34


u r b a n I n t e r l u d e

N

Urban Interlude - Mauricio Navarro
Lam 2 of 5
35



1 2 3 4 5 6

Footbridge
Public Library
East runway: Access arm for interconnec ng Renewed Bus Stop Area
the proposal itself with the city through the
connec on with the sta on the par cipa on
Footbridge in the layout generated in the proposal.

Min iwaterfall and pool next to the west runway. New parking underneath Multipurpose Gallery
bicycle level Mul ple use areas for exposi on and events
6 3 of formal urban and informal call Urban Amphitheatre
Plaza decomposed in levels,
proposal for gathering the urban pause inside a
public character informal space, the expression
and reunion and the genera on of an acous c
space of comfort.

4

5

Urban Balcony
2
Terraces and new contextual communica ons
through several mini runways and stair of
urban interconnec on and of the proposal itself.

New small footbridges

Central Gallery
Mul use program building focused towards
the use as gallery and urban commitment
towards pedestrians.
1 Footbridge
Urban Balcony

Lam 1 of 5 36



N

Elevation 3d East

Elevation 3d West
t
b l d
Lam 2 of 5
37



Zone 2

Spa al characteris c and architectural object

Inside the exis ng func on in the place, comprehended by the train sta on the con guous
area to the subway, there is a space rich in spa al situa ons in terms of urban walk and pause,
by example, the bus stop, the bicycle transit, the arrival of new passengers to the train, the use
of any bench for res ng, etc. all of these lacking a proper spa al defini on which is to be
proper if the voca on of deten on in the urban meline of the site. The spa al tensions
between the sta on and this corner in the city indicate a good space foe rehabilita on and
renewal of this urban con nuity at an urban scale and the one of barrio or neighborhood with
the incorpora on of a new proposed use in the site. Inside this parameter the proposal will
have its main building, genera ng in this proposal a layout which corresponds to the new
planned compound.

The proposed func onal axis

Gallery of three levels and bistro located in the west end of the train sta on of Lund by arriving
by the subway, the incorpora on of the renewed bus stop area terraces and having it
reformulated, waterfall and water mirror next to the side arm of the runway, new and reorder
bicycle park.

Parameters of Design

Inflect the crossed linearity, composed of the axis of Lilla fiskaregatan (east – west ) and Ban
Gatan (North – south)

Connect walkways by runways and the incorpora on of the building to the city.

Clean the surrounding pedestrian connec on by the fluidity of movements of the urban user.

Generate a space of inflec on of the proposed height or levels, through elements of acous c
inten on for the crea on of the soundscape capable of delivering the sensa on of fusion
between the city and the proposal.

Maintain the language of the ver cal elements that respond to the virtual geometry and the
exis ng tensions between urban silences, by means of empty and filled spaces func onally
adapted.

Spa al Program

a- Mul use program building focused towards the use as gallery and urban commitment
towards pedestrians.
b- New parking underneath bicycle level
c- Renewal of the bus stop area
d- Terraces and new contextual communica ons through several mini runways and stair
of urban interconnec on and of the proposal itself.

Lam 2 of 5
38

A` Mauricio Navarro Urban Interlude


Urban Amphitheatre

Central Gallery
B`

B
Urban Balcony

Urban Balcony
Footbridge
Urban Balcony

A
Lam 1 of 5 39



Sections

Section A-A`

Section B-B`


40


The New urban Panorama

41


Acoustic Plaza

42


The Anfitheatre

43


New Art Gallery in Ban Torget

44


Special thanks to my advisor, Maria Isabel Rasmussen, My examiner, Christer Malmström
My Wife Claudia Navarro and my friend Arturo Tovar Goris from Mexico.

45

Urban Interlude ( Lund Sweden )

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