# The Soundscape Hackathon as a Methodology to Accelerate Co-Creation of the Urban Public Space
## 4 Results
### Urchi  
Team URCHI developed two different scenarios for two different soundscapes. Their ideas were explained with a visual presentation followed by an immersive audio experience. First, the team  
Figure 4: Screenshot of the demonstration by team Noize Makers, using 3D legend objects that point towards the location of the localized sound objects.  
Figure 5: Screenshots of the virtual layer added to Potsdamer Platz by team Trio Akustiko. (**a,b**) Different perspectives on the virtual scene. (**c**) Buttons allow modification of the scene.  
selected the Signal Hill Garden recording for creating a restorative soundscape. A positive acoustic design intervention (adding sounds) was created in order to generate comfort and quietness. The team was inspired by the Chinese pavilion in the scene and they modified typical Chinese lanterns with wind chimes. Wind harps were added as well because together they have a relaxing and meditative effect that creates peace of mind and a sense of harmony. Figure 6 shows the proposed adaptations and a sketch of the adapted scene. Important to note is that the adaptations were only performed in the auditory scene; nothing was changed in the video recording.  
Customized SuperCollider software was developed to synthesize the sound of the wind chimes in three octaves tuned to a microtonal Makam Rast scale. Traditionally, it is believed that such a scale elicits comfort, releases stress and brings tranquility. A wind harp sample was ambisonics encoded and spatially placed in elevated corners of the scene. Movement of wind was simulated by consecutive fading in and out of a wind sound sample. Entering the garden is simulated by applying a spatial filter towards the back of the scene (the water in this case) at the beginning of the recording. To make everything sound natural and more immersive, the sound levels of the different soundscape components were manually adjusted.  
Subsequently, the team selected the Boston soundscape that is characterized by traffic noise, car horns, tram bells and voices. To improve this soundscape, the team applied both a positive (adding sounds) and negative (removing/hiding sounds) acoustic design. The idea was to place a dome overgrown with ivy, a creeper, on the lawn of the Boston park to screen the surrounding noise [46; 47]. A small fountain was then placed inside the dome, as the sound of water is known to be an effective natural sound to mask road traffic noise [48; 49]. Water sounds also increase the overall impression of pleasantness, eventfulness and perceived quietness of the soundscape [49]. Finally, the team placed a gravel path leading to the entrance of the dome, with associated sounds having the effect of attracting attention. Figure 7 shows a sketch of the intervention.  
To create the effect of the dome in the audio recording, a fitting lowpass spectral filter was designed. A person walking towards the dome is simulated by playing a sample of calm gravel steps and placing it in the 3D scene. Similarly, the fountain is placed in the scene, with the designed filter applied to the fountain sound to create the impression that it is inside the dome. Upon entering the dome, the filter is removed from the fountain sound while simultaneously being applied to the surrounding soundscape recording. By changing the spatial position of the fountain, moving inside the dome is simulated. Again, sound levels of the different soundscape components were manually adjusted to create a natural sounding and immersive experience.  
Figure 6: Adaptations to Signal Hill Garden by team URCHI. (**a**) Typical Chinese lantern modified with wind chimes. (**b**) Sketch of a wind harp. (**c**) Sketch of the adapted scene.