With this project Nichols captured the sonic emergence of the building, transforming the treatment of earth and stone into an audio work and installation that hummed, breathed and whispered through her studio.

Using hydrophones, contact microphones, and binaural recordings, turning the earth archives the hidden textures, airflow, and resonances of the active site and the local stone quarry. The composition weaves together the lithic pulse of rammed earth, the rasps and cracks of fires that were lit to break stone, and the whirring and almost mechanical ticks and clicks of puddle frogs which had inhabited the temporary ecosystem of Muyenga quarry's rainwater.

The installation at 32 featured a rammed earth wall—developed with Localworks—reimagined as a functional sonic distribution device that sculpts and projects these environmental frequencies.

Visitors were invited to experience the physicality of these sounds and explore the internal, micro-vibrations of architecture that typically go unheard.