• Urban and landscape architects should take auditory perception into account. The perceptions of all senses should be dealt with to the same degree and the visual should not be favoured.(1)

• Urban and landscape planners and designers should create sonic environments, which form part of their context over both time and space. "Time" is meant in both shorter and longer terms. (2)

• Soundscape design (which interact with physical environments) should be connected to urban and landscape planning.

• Design tools dealing with auditory aspects should be developed to fit into the process of urban and landscape planning and design.

• There is a need for an architectural poetry concerning the properties of sound. This acoustic poetry should be included in the certain language of the architectural design process and would probably clarify some tacit knowledge in architecture.

  Stockholm 1998-06-13

  OPEN LIST:
  Andres Bosshard
  Francesc Daumal
  Kerry J. Dawson
  Bernard Delage
  Catharina Dyrssen
  Per Hedfors
  Björn Hellström
  Helena Ohlsson
  Nicolas Remy
  Pehr-Mikael Sällström
  Gösta Winberg

Notes:

1. By auditory perception is meant all that is heard compared to perceptions of other senses, i.e. the visual perception that means all that is seen. Examples of what auditory perception could be a perception of: a.) The sonic identity of a certain space, b.) The resonance in and outside a building, c.) Water art in both outdoor and indoor environments, and d.) The change of material while walking over a floor or the ground.

2. Example: Give some priority in urban and landscape planning and design to the type of sounds that the human hearing has been shaped of by evolution (since "the Big Bang"), i.e. sounds of water, wind, songbirds and the human body.