2006
In her 2006 research report, Concepteurs sonores et concepteurs lumière : sociographies comparées, Cécile Regnault (with Sandra Fiori and others) uses the work of Max Neuhaus as a foundational reference to bridge the gap between artistic "sound sculpture" and practical architectural design.
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Max Neuhaus as a Model for "Aural Architecture"
Regnault positions Neuhaus not just as an artist, but as a pioneer whose methods inform the modern profession of sound design in urban spaces:
The report examines how sound designers establish legitimacy. Neuhaus is cited as the figure who successfully transitioned sound from a "musical event" to a "spatial component," providing a model for architects to treat sound as a physical building material.
Regnault explores how light and sound designers collaborate. For Neuhaus, "sculpting" sound meant interacting directly with the physical and social structures of a city, a precursor to the interdisciplinary expertise now required for creating urban "ambiances".
The research highlights Neuhaus’s ability to make sound a permanent, localized feature—much like a physical statue or a lighting installation—rather than a transient performance. This shift is central to Regnault's analysis of how contemporary designers manage "sound phenomena" in architectural projects.