scholarly journals El Concert Hall de Mies: el programa de posgrado del IIT como laboratorio de ideas

2021 ◽  
pp. 47-58
Author(s):  
Zaida García-Requejo
Keyword(s):  
Concert Hall ◽  
Mies Van Der Rohe

El proyecto de Mies van der Rohe para un concert hall constituye un punto de inflexión en su trayectoria profesional, considerándose el inicio del proceso de búsqueda del ‘espacio universal’: un espacio totalmente libre de apoyos estructurales interiores. Materializado en forma de collage a partir de la fotografía de una obra de Albert Kahn, es también muestra de la cercanía existente entre sus facetas profesional y docente, ya que se trata de un proyecto de tesis fin de máster iniciado por el estudiante Paul Campagna, nunca finalizado. Esta investigación propone profundizar en el concepto planteado por Mies a comienzos de los años 40, dando a conocer el proyecto de Leonard Klarich de 1950, el único de los desarrollados dentro del programa de posgrado del IIT que resuelve la misma temática funcional, con el fin de encuadrarlo dentro del proceso de búsqueda del ‘espacio universal’ iniciado con el collage de 1942.

Concert hall design: Some considerations.

2015 ◽  
Vol 25 (3) ◽  
pp. 181-186
Author(s):  
Leo L. Beranek
Keyword(s):  
Concert Hall

Interrelation of Architectural Concepts and Principles of Artificial Lighting in the Moscow Concert Hall Zaryadye

2019 ◽  
pp. 4-13
Author(s):  
Maria M. Ilyevskaya
Keyword(s):  
Concert Hall ◽  
Distinctive Features ◽  
Artificial Lighting ◽  
Building Type ◽  
Concert Halls ◽  
Architectural Language ◽  
The Creation ◽  
Architectural Planning ◽  
The Individual ◽  
Formal Features

The article is focused on the analysis of the Zaryadye Concert Hall building in Moscow in terms of the significance of artificial lighting for the creation of the imagery and perception of this facility within the typology of entertainment music-oriented buildings. Through the example of modern places of entertainment, the author reveals a number of formal features (typological attributes), which, being common to buildings of this function, constitute the basis of their image and become obvious due to the realized lighting concept. The interpretation of these attributes in the interaction of architectural planning and lighting concepts in the Zaryadye Concert Hall is traced. In conclusion, the distinctive features of the building under consideration are determined. At the same time, they reflect a new understanding of concert halls as a building type, the changes related to the overall development of architecture, as well as the elements of the individual architectural language.

The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

DYNAMIC SYMMETRY BEHIND THE PLAN OF FARNSWORTH HOUSE BY MIES VAN DER ROHE

2000 ◽  
Vol 65 (535) ◽  
pp. 297-302 ◽  
Author(s):  
Daisuke KAJI ◽  
Takashi OMI ◽  
Kouichi ISHIZAKA
Keyword(s):  
Dynamic Symmetry ◽  
Mies Van Der Rohe

Bauen nach dem Bauhaus

Architectura ◽  
2018 ◽  
Vol 48 (1-2) ◽  
pp. 154-183
Author(s):  
Andreas Schwarting
Keyword(s):  
Second World War ◽  
West Germany ◽  
Individual Level ◽  
Industrial Architecture ◽  
Construction Tasks ◽  
The 1950S ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Contemporary Architecture ◽  
Second World

Abstract Hermann Blomeier is one of around 80 graduates from the Bau- und Ausbauabteilung, a comparatively small group among the more than 1200 students at the Bauhaus who have only recently come under the spotlight of research. The biographies of several graduates are known, such as Franz Ehrlich, Erich Consemüller, Howard Dearstyne, Selman Selmanagić, Herbert Hirche or Arieh Sharon; many more are lost, however. Although the Bauhaus was not a ›school‹ in the sense of a unified design approach and a binding canon of forms, it is instructive on an individual level to study the work of Blomeier, one of the Bauhaus graduates and students of Ludwig Mies van der Rohe who has so far received little attention. On the basis of three projects from the 1950s, the viability of the design approaches conveyed at the Bauhaus for the construction tasks of the post-war period are examined. First, the ferry ports connecting Konstanz and Meersburg will be considered as the first major project by Blomeier after the Second World War. The buildings for the Bodensee-Wasserversorgung – at times the largest construction site in West Germany of the 1950s – represent an outstanding example of industrial architecture and technical infrastructure in their fusion of art, technology and landscape. The smallest of the three projects, the building for the rowing club Neptun, located directly opposite the old town of Konstanz on the Seerhein, points with its innovative modular primary structure well beyond contemporary architecture and anticipates developments of the late 1960s, such as the Japanese Metabolists or the Plug-In-City of Archigram.

All Things New in Singapore: On creativity, complexity, and usage associations in Englishes

English Today ◽  
2021 ◽  
pp. 1-11
Author(s):  
Edgar W. Schneider
Keyword(s):  
Performing Arts ◽  
Special Program ◽  
High Quality ◽  
Concert Hall

In January 2021, Singapore's national performing arts center ‘Esplanade – Theatres on the Bay’, known especially for the high-quality acoustics of its concert hall, ran a special program called ‘All Things New’, featuring concerts and other art performances. It was advertised on location (see Figure 1), by a leaflet (Figure 2), and in a one-minute video (https://www.esplanade.com/festivals-and-series/all-things-new/2021) also shared on YouTube (https://www.youtube.com/watch?v=7U-7Yw9sTPs), and introduced young artists and bands who performed on the institution's ‘Concourse’ and its open stage called ‘Outdoor Theatre’ (for an example, see Figure 3).

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