London’s Somerset House provided the setting for the 2021 London Design Biennale where multi-disciplinary curatorial agency Alter-Projects, French design studio Servaire&Co and technology consultant 6Sides presented Metronome, an ‘audio-olfactory installation’.
Responding to the Biennale’s theme of resonance under the artistic direction of Es Devlin, the work was inspired by Marcel Proust and his novel In Search of Lost Time: In Swann’s Way, which centres its narrative on the theme of involuntary memory. Metronome’s declared aim is to offer a time bubble to visitors allowing them reconnect with themselves and deep-seeded memories. Using a metronome to trigger a succession of sounds and scents, the experience conspires to invite a meditative internal journey.
‘The combined sensory experience is designed to revive involuntary cognitive memories in order to instil inner peace and sooth the senses,’ says Anne-Laure Pingreoun, exhibit curator and founder of Alter-Projects. ‘It’s the perfect antidote to a stressful world, and examines how the evolving scent and soundscape enables visitors to reconnect with emotions, bridging the gap between space and memory.’
The physical metronome, in the shape of the infinity symbol, is centred in the space on a mirrored riser. As the pendulum slowly oscillates, the metronome rotates imperceptibly and is surrounded by sound emanating from the corners of the room, forming a soundscape composed of overarching layers that are generated algorithmically to oscillate at precise frequencies that echo its movement.
Ticking sounds – both literal and abstract – further connect spectators to the passing of time. Conceived by wellness and sustainability consultant Steve Lastro of technology consultancy firm 6Sides, the sounds are enabled by a discreet audio system Azimut from K-array, which emits a mesmerising sound developed by Moodsonic linked to the repetitive movement of the metronome.
‘I was looking to create something unique and special with sound that could respond to LDB’s theme on resonance,’ Lastro says. ‘We wanted to create a seamless experience where the sensory modalities all had a purpose, and so we sought an audio solution that was not only visually discreet but that could also produce the sound levels needed to awaken a true sensorial experience, creating the ideal acoustic and immersive environment around the metronome.’
Azimut’s minimal visual footprint enabled Lastro to focus visitor’s attention on the sound rather than awareness of the origin of the sound. ‘Being a truly invisible profile, this was key. We wanted the Metronome to remain the only focal point, allowing the spectators to immersive themselves in the sound without noticing the speakers. We observed people walking around the room looking up at the ceiling and the Metronome trying to figure out where the sound was actually coming from – it was truly impressive.’
The sound was delivered by six K-array Lyzard-KZ14 miniature line arrays, spaced around the periphery of the room at head height and equidistant from the central Metronome. The wide horizontal, and narrow vertical, coverage from the speakers ensures that visitors are always fully enveloped in the soundfield.
Milled from a solid bar of aluminium, the Lyzard’s décor-matched enclosure houses four half-inch drive units to provide crystal clear audio, and blends discreetly into the surroundings, measuring only 100mm tall. ‘In terms of sound, the diminutive size of the K-array speakers was key for us because we didn’t want anything obstructing or distracting – we didn’t want the viewer’s eye wandering into too-familiar territory; we wanted the whole thing to be about being focused on the Metronome,’ agreed Pingreoun.
‘Moodsonic was super interesting because we wanted a soundscape that wasn’t too intrusive, and to resonate with Metronome. It’s a 30-minute long soundscape that includes ASMR [auto sensory meridian response] tingles such as water droplets, woody sounds, and ticking sounds that ground you and resonate with the piece.
‘The scents inside the capsule are a new patented technology that release fragrance only when the capsule is in motion, and work in harmony with the soundscape. The scent is not intended to be anything specific; rather to just evoke memories and recollections. The sound is inspired by the Metronome, the scent is inspired by the sound, and the sound is triggered by the metronome itself – so everything is in harmony.’
Blending the sensory elements into a single experience was a challenge that the team behind Metronome feel has been accomplished. ‘Our aim was to create a multi-sensorial installation where sound played a vital role in helping to trigger deep emotional memories and to take spectators on a meditative journey,’ Lastro says. ‘There’s no doubt that K-array Azimut was the only audio system that could deliver what we wanted – not just as an impressive ultra-compact and discreet speaker – but that could also produce such amazing sound quality that would fully immerse and captivate spectators – and it has far exceeded our expectations.’
