A 30 mins long site specific soundscape composed the locational reocrding of ambience sound, object's sound in the space nad audio source from the digital archive of 1aspace. All the audio source are play via transducer speaker attached to objects / structure set in the venue.

4a/ 以聲音的空間性去淹沒本來的期許
4b/ 白盒子曬街燈
4c/ 啊，下雨了
4d/ 餵飼槽內的耳語
4e/ 純粹鐵閘
4f/空氣流通
4g/ 來去水

4a/ Submerge the original expectations with the spatiality of sound 4b/ The white box basks in the street light
4c/ Ah, it's raining
4d/ Whispers in the feeding trough
4e/ Pure iron gate
4f/ Air circulation
4g/ Water in, Water out

(image courtesy of 1a space)

1a空間進駐牛棚二十多年間，我曾參與過數次該空間的活動，可是卻沒有任何很深刻的體驗，畢竟1a空間是在香港一個很「標準」的民營藝術空間：尺寸、配套、價格、藝術理念等等。個人而言並沒有一套肯定的說法去勾劃自身對其空間的情感。

花了一段時間翻查1a空間倉庫內的錄像和聲音庫存，能發掘到在1a空間內記錄下來的聲音其實寥寥可數。追溯到1a空間（與其他租戶）進駐牛棚頭一兩年間，「牛棚藝術村」仍是城市規劃生產出的一片具爭議性的公共空間，持份者仍有討論和批判的力氣。廿年多後重讀當年的提問倍感疏離，卻又把時空重疊起來：「牛棚藝術村可以喺度做一啲乜野，或者你地期望佢可以做到啲乜野？還是本來就不應存在所以什麼都不要做？還是其他？」

藝團理念理應主宰著紅磚牆內的展場設計，「還原」只攤開了空間本貌，剩下來的是鐵鍊鐵圏、一道純粹的鐵閘、不再作為地腳線的餵飼槽、封了塵的窗口式冷氣機、破爛的窗框、掛牆風扇、屋頂、橫樑、陽光、空氣及所有整修的痕跡。

白盒子的展場通常都沒有太多考慮聲學上的處理，外加的聲音在展場出現時，大家總是避免打擾旁邊的人，然後隨遇而安，直到有人投訴為止。當外加的聲音都偽裝成展場本來應有的聲音，用作形容它的長闊高和物料，不知會否加劇展場外的困擾？

(English version)
| Exhibition Space Restoration |

1a space has been stationed in the Cattle Depot for over twenty years, and I have participated in several activities in this space. However, I haven't had any profound experiences, as 1a space is a very "standard" art space in Hong Kong in terms of size, facilities, pricing, and artistic concepts. Personally, I don't have a definitive statement to describe my emotional connection to this space.

After spending some time searching through the video and audio archives in the 1a space warehouse, I discovered that there are only a few recorded sounds from within the space. Going back to the first couple of years when 1a space (along with other tenants) moved into the Cattle Depot, the "Cattle Depot Artist Village" was still a controversial public space produced by urban planning, and the stakeholders still had the energy for discussions and criticisms. Re-reading the questions from that time, after more than twenty years, I feel a sense of detachment, yet the past and present overlap: "What can the Cattle Depot Artist Village do, or what do you expect it to achieve? Should it even exist in the first place and do nothing? Or something else?"

The ideology of the art group should lead the exhibition space design within the red brick walls. "Restoration" only reveals the true appearance of the space, leaving behind iron chains, a purely iron gate, feeding troughs (that no longer serving as skirting), dusty window-type air conditioners, broken window frames, wall-mounted fans, roofs, beams, sunlight, air, and all the traces of remodeling.

Exhibition spaces in white boxes usually don't consider acoustics much. When external sounds appear in the exhibition space, everyone tends to avoid disturbing others and simply go with the flow until someone complains. When these external sounds disguise themselves as the inherent sounds of the exhibition space, describing its dimensions, materials, height, and width, will it exacerbate the troubles outside the exhibition space?

Exhibition documentation : https://www.oneaspace.org.hk/current-exhibition

11 – 25/08/2024 \Exhibition Venue： Jockey Club Future Laboratory of Arts Tech 3/F, South Tower, PolyU West Kowloon Campus, 9 Hoi Ting Rd, Yau Ma Tei, Kowloon