“Any space, with its intrinsic character, not only becomes a site for performance, but also performs (…) it is not an empty container but an active agent; it shapes what goes on within it, emits signals about it (…) and is itself affected.” – (Dorita Hannah, 2018, p. 16) 

The pipes act like a fragmented church organ, altering the sounds that enter by manipulating their resonance through their shapes, forcing the outside to enter only in a form of sacred harmony. The pipes interpreted and was invaded by the sounds from the surrounding district, the skyscrapers towering over the church on all sides. It was an effort to explore the interplay between the theological narrative of transcendence, and the secular narrative of progress and development, and provoke the effects of these sacred spaces, and their role in maintaining the richness of human experience in our commercialising built environment.