They are structured around three main categories: localisation of functions, reduction of unwanted sounds and introduction of wanted sounds.

A total of 19 Soundscape Actions are described and discussed in the paper. The studies are based on observations in situ, supported by video documentation, field recordings and readings of sound pressure levels (SPL). An autoethnographic approach was used to conduct field studies in 88 gardens in Japan, the majority of which are located in urban areas with potential noise disturbance. The study focuses on the Japanese garden tradition, which is known for high preference ratings, tranquil qualities and consideration for sound and other sensory experiences. The present research aims to substantiate one of the available tools, Soundscape Actions, and thereby increase the understanding of soundscape design. Landscape architecture and urban design disciplines could benefit from soundscape thinking in order to enhance experiential qualities in their projects, though the available tools are not yet fully developed nor tested. By further highlighting the connections that are established between landscape forms and those ensuing designed or anticipated sound classes that emenate from a garden's design, I argue that a Japanese garden is a synthesis of considerations born not only from visual articulations of space but those corresponding auditory and semiotic qualities that sounds potentiate. These sounds are then classified through the construction of a taxonomy that describes the sounds of a Japanese garden as a function of a heirachy of family (or collection), class, subclass and element. As such, I briefly examine historical notions regarding Japanese cultural listening modes forwarded by Imada (1994 2012), and then through the introduction of the terminologies of acoustic ecology (Schafer 1977 Truax 2000) and aural architecture (Blesser and Salter 2007), I survey an array of typical sounds found in Japanese gardens. I argue in this paper that although there is an immediacy and visual strikingness to the design of Japanese gardens in Japan, what is most often overlooked in reading their aesthetic qualities is an attention and balance afforded by their considerations on sound design. I conclude by providing a formalism of Whittington’s conjecture via a conceptual graph rule that accounts for both auditory and visual conditions that generate shakkei in the cited examples of the premiere of the Silent Piece as 4'33'' and the garden of Adachi Teien. (Sowa 1984) From the ontology, I create a number of graphs and derive First Order Logic formulas that are then used for inference and further reasoning. By firstly expressing core axioms in natural language that de- scribe the spatial conditions of Cage’s Silent Piece, its’ 1952 premiere as 4'33'', the technique of shakkei, and an exemplar manifestation of shakkei at the garden Adachi Teien (Japan), I construct an ontology that enables the fundamental assumptions of Whittington’s conjecture to be explicated through conceptual graphs. I analyse the work through formalizing the frame conjecture of Whittington (2013), which suggests that the work’s spatial conditions are akin to those found in the Japanese gardening technique of shakkei, or borrowed scenery. This article examines John Cage’s Silent Piece (commonly known as 4'33''). Rather than seeking to translate music into inhabitable architecture, or architectonic form into music, I highlight an approach that produces an interstitial territory between discourses on architecture and music analysis. I propose in this article three NURBS modelling methodologies: for the spatial analysis of Karlheinz Stockhausen’s sound projection geometries in 'Pole für 2' for a spatial realisation of John Cage’s indeterminate work 'Variations III' and for the generation of a surface manifold informed by musically derived soundscape data from the Japanese garden Kyu Furukawa Teien. There are numerous precedents for which architectural form is a derivation of a musical system, or a musical system is proportionally informed by architectonic gesture.

In this article I examine three projects that utilise NURBS modelling as a means for which a musical system’s inherent spatiality is visualised.

NURBS (non-uniform rational b-spline) modelling has become a ubiquitous tool within architectural design praxis.

Sound files for soundplant 42