Project Description from the Architects:
A FROZEN PIECE OF MUSIC
Anisotropia, the design for the new Busan Opera House, is based on Klavierstück I, a composition for piano by Orproject director Christoph Klemmt. It is based on a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns.
Anisotropia becomes the physical manifestation of Klavierstück I, a frozen piece of music. The design for the Busan Opera House is based on a simple strip morphology instead of a twelve tone row, which creates the facade, structure and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the façade structure, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the façade.
Klavierstück I uses a twelve tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted.
In the next repetition this shift continues, but the range now also gets reduced in its size: The lowest tone gets translated up by one octave again, and the second lowest tone gets dropped out, so that only the remaining eleven tones of the row are played. Instead of the twelve tones the range now only covers eleven tones, and also its length is reduced accordingly.
The range of the twelve tone row continues to be reduced and shifted upwards until only one tone is left in each repetition of the original row. Then the range grows again, and still moving upwards goes through further modulations: The different voices of the piece are starting to separate, the size of the different parallel ranges starts to diverge, they move around each other, until finally they grow together again, still moving up and their range fading out with the highest key of the piano.
Piano Piece No.1 is based on a simple row of the twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.
STRUCTURE AND LIGHT
The proposed façade structure becomes the physical manifestation of Klavierstück I. Instead of on a twelve tone row, it is based on a strip morphology made from curved steel sections that creates the facade, structure and rhythm within itself. The repetition of the lamella happens in space, instead of the repetition in time of the twelve tone row. Parallel layers of the strips form the façade structure, and the alteration of its patterns results in architectural rhythms which are used to control the light, view and shading properties of the façade.
The façade structure starts to flow from the sea, where its different layers are aligned and appear to be one. (See image “Façade Detail 1”) Then slowly the layers start to repeat at different intervals, resulting in a shift between them, the alignment breaks up, and a varied field of the façade rhythms begins to emerge. (Façade Detail 2)
The façade structure is altered in the length of its repetition, but also the orientation and the depth of the extrusions are manipulated in order to control the view and light, depending on the programmatic requirements on the inside of the building. (Façade Detail 3)
The flow of the façade layers is influenced by the programs which they enclose. As an effect of this the layers split up at certain points, and after forming a coherent system with the overlay of its rhythms, the individual layers separate and their individual patterns become visible. (Façade Detail 4)
The positioning of the façade walls has been developed according to a custom written flow simulation. The algorithm describes a flow that is influenced and altered by a set of deflectors, which each act according to the magnitude of their attraction and the area of their influence.
The distribution of the programmatic elements on the site is used as the deflector set that guides the flow of the rhythm lines which originate from the sea. On their way towards the city, the lines flow around the building elements such as the theatre and auditoriums, splitting up and being diverted by the deflectors.
In the musical composition the different voices converge again. For the building, the separate façade layers spread out towards the city, form the structure for a bridge, and then slowly fade out and disappear back into the ground.
[SitM: the story looks like Chinese Government Propoganda, but granted, it is a beautifully executed design]
Hand in hand with China’s overall rapid growth and explosive urbanization, recent years have seen a wave of high-design architecture. The Office for Metropolitan Architecture’s spectacular CCTV tower, opened in 2008 to house the nation’s central television headquarters, is a fantastic example of forward-thinking architecture exploring contemporary concepts of shape and form. Now another Chinese media mogul is taking a swing at making their mark on Beijing’s urban landscape, picking up where projects like the CCTV building left off after the boom spurred by the 2008 Olympics. The Phoenix International Media Center, scheduled to be completed in 2012, currently stands half complete adjacent to Chaoyang Park, signaling the ongoing development of radical architecture in the country as well as Chinese architects themselves, not to mention the strength of Chinese TV networks.
Phoenix, a large satellite TV provider, will eventually move their programming operations there, in addition to housing other businesses, offices and restaurants. The shape of the building recalls yet another famously stunning example of what’s been happening to Beijing’s cityscape of late, the Herzog and De Meuron “Bird’s Nest” Olympic Stadium. Here, the architects have managed to give the basket-like shape a sense of movement, reminiscent of a sea sponge or jellyfish. Digital renderings have the feel of the command bridge on a futuristic space station. The ambitious project has already drummed up a lot of interest, putting it on the shortlist for the 2009 World Architecture Festival and in the Verso Est Chinese Cultural Landscape exhibit at MAXXI in Rome.
Unlike the CCTV tower, the Media Center was designed by BIAD UFo, a firm based in China. An impressive example of the nation’s homegrown architectural talents in the country, it hints at the potential future of Chinese design as more and more buildings spring up.
[SitM: Opera is mostly dead, but architecture is not. Nice to see more departure from the lazy right angle designs]
Boston-based firm PRAUD has shared with us their entry to the Busan Opera House competition. The international ideas competition invited visions for a massive cultural center, comprising a 2,000-seat opera house and a 1,300-seat multi-purpose theater, that acts as a landmark building for this booming South Korean city and puts Busan on the map of international tourism.
PRAUD’s entry didn’t make one of the first prizes, but we’re happy to share this fascinating concept anyway. The design team included Dongwoo Yim, Rafael Luna, and Stacy Choi.
Project Description from the Architects:
The concept starts from how multiple performance facilities can share common program. One way is to share public space such as foyers and the other is to share theatre function itself. We found out an interesting potential of theatre that when one performance facility share its theatre function with other facilities, various types of performance stages could be created by transformation of stage and chamber facilities. Unlike having a fixed performance stage and sharing common public space, it is a way of providing a variety of experience to the audience as well as using the opera house more efficient way.
To achieve this goal, we developed a transformable “cylinder” not only for stage/chamber function but also for structural stability. Multiple disks in the “cylinder” can move vertically depends on type and size of performance you need and numbers of performances at the same time. This vertical movement also creates void that provides visual connection between floors/masses so that a performance can be shown to audience in various ways. Also these disks can rotate so that performance can happen in multiple directions as well.
Since their release in 1978, hit albums like Bruce Springsteen’s “Darkness on the Edge of Town,” Billy Joel’s “52nd Street,” the Doobie Brothers’ “Minute by Minute,” Kenny Rogers’s “Gambler” and Funkadelic’s “One Nation Under a Groove” have generated tens of millions of dollars for record companies. But thanks to a little-noted provision in United States copyright law, those artists — and thousands more — now have the right to reclaim ownership of their recordings, potentially leaving the labels out in the cold.
When copyright law was revised in the mid-1970s, musicians, like creators of other works of art, were granted “termination rights,” which allow them to regain control of their work after 35 years, so long as they apply at least two years in advance. Recordings from 1978 are the first to fall under the purview of the law, but in a matter of months, hits from 1979, like “The Long Run” by the Eagles and “Bad Girls” by Donna Summer, will be in the same situation — and then, as the calendar advances, every other master recording once it reaches the 35-year mark.
The provision also permits songwriters to reclaim ownership of qualifying songs. Bob Dylan has already filed to regain some of his compositions, as have other rock, pop and country performers like Tom Petty, Bryan Adams, Loretta Lynn, Kris Kristofferson, Tom Waits and Charlie Daniels, according to records on file at the United States Copyright Office.
“In terms of all those big acts you name, the recording industry has made a gazillion dollars on those masters, more than the artists have,” said Don Henley, a founder both of the Eagles and the Recording Artists Coalition, which seeks to protect performers’ legal rights. “So there’s an issue of parity here, of fairness. This is a bone of contention, and it’s going to get more contentious in the next couple of years.”
With the recording industry already reeling from plummeting sales, termination rights claims could be another serious financial blow. Sales plunged to about $6.3 billion from $14.6 billion over the decade ending in 2009, in large part because of unauthorized downloading of music on the Internet, especially of new releases, which has left record labels disproportionately dependent on sales of older recordings in their catalogs.
“This is a life-threatening change for them, the legal equivalent of Internet technology,” said Kenneth J. Abdo, a lawyer who leads a termination rights working group for the National Academy of Recording Arts and Sciences and has filed claims for some of his clients, who include Kool and the Gang. As a result the four major record companies — Universal, Sony BMG, EMI and Warner — have made it clear that they will not relinquish recordings they consider their property without a fight.
“We believe the termination right doesn’t apply to most sound recordings,” said Steven Marks, general counsel for the Recording Industry Association of America, a lobbying group in Washington that represents the interests of record labels. As the record companies see it, the master recordings belong to them in perpetuity, rather than to the artists who wrote and recorded the songs, because, the labels argue, the records are “works for hire,” compilations created not by independent performers but by musicians who are, in essence, their employees.
Independent copyright experts, however, find that argument unconvincing. Not only have recording artists traditionally paid for the making of their records themselves, with advances from the record companies that are then charged against royalties, they are also exempted from both the obligations and benefits an employee typically expects.
“This is a situation where you have to use your own common sense,” said June M. Besek, executive director of the Kernochan Center for Law, Media and the Arts at the Columbia University School of Law. “Where do they work? Do you pay Social Security for them? Do you withdraw taxes from a paycheck? Under those kinds of definitions it seems pretty clear that your standard kind of recording artist from the ’70s or ’80s is not an employee but an independent contractor.”
Daryl Friedman, the Washington representative of the recording academy, which administers the Grammy Awards and is allied with the artists’ position, expressed hope that negotiations could lead to a “broad consensus in the artistic community, so there don’t have to be 100 lawsuits.” But with no such talks under way, lawyers predict that the termination rights dispute will have to be resolved in court.
“My gut feeling is that the issue could even make it to the Supreme Court,” said Lita Rosario, an entertainment lawyer specializing in soul, funk and rap artists who has filed termination claims on behalf of clients, whom she declined to name. “Some lawyers and managers see this as an opportunity to go in and renegotiate a new and better deal. But I think there are going to be some artists who feel so strongly about this that they are not going to want to settle, and will insist on getting all their rights back.”[snip][end]
Read the full article at the link below.
[SitM: this teen is definitely very creative. Work looks like CGI out of the original Matrix movie. Salut!]
Tokyo teenager Natsumi Hayashi has an odd, but incredibly fascinating hobby – she takes photographs of herself jumping, until she gets a perfectly clear shot that looks like she’s levitating.
Witness her ‘flying’ around the house with a vacuum cleaner, down the street and down a railway platform. The shots have a magical quality about them that belie the hectic pace of Tokyo and add a touch of mysticism. Oh, and they’re damn cool.
Photographer Appuru Pai presents an amazing series of photographs taken on the Japanese high speed rail line, Yurikamome.
[SitM: to simplify this process they should use stainless steel trees]
[SitM: we nearly always love the beauty of concept cars. Intrigue is added when there are styling references to the past]
News broke that Chicago firm Adrian Smith + Gordon Gill Architecture is designing Kingdom Tower, to be the world’s tallest building, in Jeddah, Saudi Arabia, near the Red Sea. […] It has been reported that the tower’s height will be at least 173 meters (568 feet) taller than the world’s current tallest building, Dubai’s 828-meter-tall Burj Khalifa, which was designed by Adrian Smith while at Skidmore, Owings & Merrill.
Lollapalooza 2011: Deadmau5, Foo Fighters wrap up fest
CHICAGO — The final headliners for the last day of Lollapalooza in Grant Park perfectly symbolized both the festival’s origins and its likely evolution. On one end, Foo Fighters represented the alternative rock stylings Lolla began championing 20 years ago, while DJ Deadmau5 on the other end symbolized the festival’s transition into a hotbed for electronic dance music.[snip]
Farrell looks back and forward: Sitting at a table within his compound at the end of Grant Park after his DJ set Saturday, Perry Farrell, the Jane’s Addiction frontman who concocted Lolla back in 1991, finally takes a moment to reflect on his creation on its 20th birthday.
“There’s been this kind of uncontrollable energy, to the point where my whole body would shake,” Farrell says. “Going from 70 to 90,000 people a day is a big jump. … It’s a nerve-racking thing and it can lead you to the point of breaking down and crying. (On Friday) at one point, every one of my producers broke down. … Whatever is going to happen is going to happen. But I will tell you, looking back at the whole weekend, this is one of the great moments of my life. No matter what happens from here, I had a great moment in the sun.”
What Farrell hopes will happen from here is that Lolla become a greater global force; besides attracting people from around the world to Chicago, the event has expanded to Chile, will launch in Brazil next year and another foreign market in 2013. Farrell also sees dance music becoming a more central focus. This year, Perry’s DJ stage expanded to a tent that could handle 20,000, but it was so crowded with people Friday, Afrojack’s set had to be postponed because of concerns of overheating.
“My mission is one day there’ll be live music on one side and electronic music on the other side,” Farrell says. “It looks like the world is really going in that direction where dance music is the new punk rock. I’m going to tell (event producer C3 Presents) next year it should be half and half. So expect it in three years.”