Posts tagged with "Music":
On May 21st, "One Day in Life," a 24-hour musical experience, will take over the German city of Frankfurt. The two day event will feature 75 performances sprawled across the city in unusual locations, all curated by Polish-American architect Daniel Libeskind.
Initiated and commissioned by the Alte Oper (Old Opera) Frankfurt, the project seeks to break free from the conventional concert hall framework. The locations, as chosen by Libeskind, range from the Commerzbank Arena (Frankfurt's soccer stadium) to hospital operating rooms, boxing arenas, Oskar Schindler's house, and even the underground repositories of the German National Library. The music has also been chosen by Libeskind, showcasing an equally eclectic diversity. Renowned artists and students will perform classical and contemporary orchestral numbers as well as Indian Ragas and electronic music.
To ensure that as many visitors get a chance to be involved, performances will be repeated multiple times at each location, with two-hour intervals. A full listing of the program can be found on the event website.
Daniel Libeskind on Acoustics, his Unexpected Architectural Process, and his Latest Venture One Day in Life
Undulating birch walls create pockets of privacy in an apartment building lobby.When Boston design and fabrication firm Radlab began work on Clefs Moiré, the permanent installation in the lobby of One North of Boston in Chelsea, Massachusetts, they had relatively little to go on. They knew that the apartment building's developer wanted a pair of walls of a certain size to activate the lobby space, but that was about it. "Normally we get more information, so we can come up with a story—a concept based on the building and its requirement," said Radlab's Matt Trimble. "For this we pulled back and said, we have an opportunity to be a little more abstract about how we approach this conceptually." Inspired by moiré patterning and a harpsichord composition by J.S. Bach, the team designed and built two slatted birch walls whose undulating surfaces embody a dialog between transparency and opacity. The client's interest in achieving moments of privacy within a public space led Radlab to moiré patterning, the phenomenon in which a third pattern emerges when two other semi-transparent patterns are superimposed on one another. Trimble compares the moiré effect to standing in a cornfield. "It's not until that moment when you look at it from the perpendicular that you see the rows of corn," he said. "When you look to either side, the crossing prevents you from seeing depths." The designers decided to think about the two walls as a single volume that would later be split. "There's this potential for reading it as a single wall when you look at it from different perspectives," explained Trimble. "This made sense because the project is about viewpoint. If you're perpendicular to the wall, you see straight through it." Radlab began with a traditional approach to moiré patterning, playing with identical vertical components set askew to one another. Then they looked at J.S. Bach's Partita No. 2 in B-flat Major: Gigue. Bach's challenging composition requires the performer to cross his or her hands, the left hand playing the treble clef while the right hand plays the bass. "That became an inspiration for a way to structure and organize the two walls," said Trimble. "To think of one as being the result of a bass set of wavelengths, and the other as a treble set." The designers realized that they could modulate the metaphorical wavelengths across both the vertical and horizontal sections to create an interesting, and varied, third element. "That's where the Gigue became influential," said Trimble. "It gave us a way to create a rhythm in the wall that would pace itself." The team relied heavily on Rhino and Grasshopper both to design the installation and to plan fabrication. "We would create various iterations in 3D modeling software, then disassemble them into the flat XY plane and try to understand: how would we actually build this?" said Trimble. Simpson Gumpertz & Heger's Paul Kassabian provided crucial help with structural engineering, including designing a base plate that is invisible except when the wall is viewed from a 90-degree angle. Radlab CNC-milled the wood slats and spacers before coating them with varnish. "Fabrication was long and arduous, but it challenged us in really great ways," said Trimble. The group developed a hanging mechanism to efficiently apply fire retardant to the ribs. To prevent varnish from adhering to the points of connection between the ribs and spacers, they fabricated each spacer twice, once out of birch, and once out of chipboard. They affixed the chipboard templates to the ribs before spraying the varnish, leaving an untouched patch for the final spacer. "It was process-intensive, there was no getting around that," recalled Trimble. "But we embraced that process-intensive journey from the onset, to see if there were ways we could be creative about creating improvements to make fabrication more efficient." On site, Radlab laid down templates of the base plates to drill holes for the anchor bolts, then returned with the walls themselves. Each wall was prefabricated of four panels and assembled in the shop. "They tilted up almost like tilt-up concrete walls," said Trimble. In addition to having inspired the form of Clefs Moiré, Bach's Gigue works as a metaphor for how the finished walls perform in space. "It starts and stops abruptly," explained Trimble. "There's no crescendo or tapering of intensity. The walls do the exact same thing: there is no rising up from the ground or falling into it. They start and stop in a similar way."
A system of 946 unique panels will produce optimal acoustics and aesthetics at the University of Iowa's new School of Music.For a 700-seat concert hall at the new School of Music at the University of Iowa, Seattle-based LMN Architects wanted to design a high-performing ceiling canopy that would unify the many features of traditional theatrical and acoustic systems. The result is a 150-foot-long by 70-foot-wide surface composed of 946 suspended, intricately laced panels that incorporate complex, interdependent, and at times conflicting systems—including lighting, theatrics, speakers, sprinklers, and acoustical functionality—in a unified architectural gesture. "The system is sculptural for sure, but it had to conceal structural truss work, which was a major cost savings as opposed to building an acoustic container," said Stephen Van Dyck, a principal at LMN Architects. The design team worked with both parametric digital and physical models to coordinate the structural system with the acoustic, theatrical, audio/visual, lighting, fire, and material elements of the canopy. "From Day One, it was a digital model," he said. "We needed a smaller physical model to get everyone's head around making this happen physically. A three-foot room model has a big impact on ability to conceive." LMN fabricated the scale model, as well as a few full-sized components, on the firm’s 3-axis CNC mill. The canopy is divided into hundreds of panels, each of which is unique to accommodate the needs of the many systems. Along the back of the canopy's perimeter, panels feature large openings so that the sound profile of each concealed speaker passes through unimpeded. Other panels along the perimeter are designed with varying degrees of acoustic transparency relative to the size of openings on surrounding panels. Medium openings toward the back of the canopy house stage lighting, while smaller openings accommodate house lights. Panels with the smallest openings, or those less than 70 percent open, conceal sprinklers, while the solid panels that droop down over the stage are angled to effectively reflect sound into the house. "From the audience, the intent is for sound to reach you quickly rather than for other sounds to arrive slower," Van Dyck explained, "so the sculptural gesture brings sounds right back to the audience." The many consultants who contributed to the design worked in different digital formats. The acousticians used SketchUp; the lighting designers worked in Revit; and theater and audio/visual specifications were saved as DWG files. Each program was compatible with Rhino and, with a Grasshopper plugin, LMN was able to incorporate information from all other platforms. "The parametric model was very flexible and let us accommodate changes all along as developments came from other contributors," Van Dyck said of the design process, which he described as more cyclical than linear. The parametric capabilities of the digital tools that the team used helped facilitate a smooth and efficient documentation process during the mock ups, making it easy to go back through any kinks that were uncovered. LMN built the mockup from aluminum composite paneling, a relatively inexpensive metal system composed of two layers of aluminum with a composite core. The material is highly flexible and it can be bent by hand after scoring on the CNC mill. This process could potentially eliminate on-site fabrication requirements. Fabrication data generated by this production model will be applied to all 946 of the unique panels in the final project. Documents will go to bid this summer, and the building is expected to open in 2016.
Groups of scanners filling the sonic spectrum may act in synch, forming a single harmonically-dense rhythm, or they may scan the plans at different speeds, resulting in complex polyrhythms. Each plan is treated as a modular score, with a distinct rhythm and timbre of its own. Also, by varying the speed and intensity of each scanning group, drone-like sounds may emerge based on the “resonant frequency” of the black and white plan.This Thursday, March 3, Carrington will reveal the hidden sound of New York's Basilica of St. Patrick's Old Cathedral for a CD release concert. He will be joined by audiovisual artists Mark Cetilia (of Mem1) and Kamran Sadeghi. More information on the AN events diary. (Via BldgBlog.) The video below captures the digital output of Cathedral Scan without the reverberations and echoes unique to each space, but the live event sounds like it could be quite a spiritual experience.