Video Archive | Acoustics (9)

Steve Badgett And Matthew Lynch-clip_1576
Simparch presents a collaborative audio integration work titled "Spec." This project proposed an environment that would serve as...
Christian De Portzamparc Part One-clip_6104
Portzamparc describes a couple of concert halls he has designed. The Luxembourg Philharmonic is located beside a office tower in...
Christian De Portzamparc Part One-clip_6105
Portzamparc describes his project for the Cit? de la Musique near Paris. It consists of a large music and performing arts school,...
John Lautner-clip_1734
John Lautner begins his slide show with images of his beginnings in northern Michigan and the cabin his father built. He...
John Lautner-clip_1751
John Lautner discusses various projects and his specific solutions to a number of design problems. He discusses some of his...
Robert Winter
Robert Winter discusses the evolution of musical spaces. He shows photographs of historic venues for music, outdoor spaces,...
Paul Kennon Innovation in Architecture-clip_2235
Kennon discusses various projects completed by his firm. He discusses the design methodology utilized within certain projects,...
Frank O Gehry Part One-clip_899
Frank Gehry begins with a short discussion of his architectural method and his aspiration to design that springs from his...

Steve Badgett And Matthew Lynch-clip_1576

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Simparch presents a collaborative audio integration work titled “Spec.” This project proposed an environment that would serve as a platform for the work of minimalist composer Kevin Drumm. The challenge was to build an acoustically-friendly listening environment within the cathedral-like spaces of the Renaissance Society at the University of Chicago. Simparch describes some of the inspirations for the installation including Native American longhouses.


Christian De Portzamparc Part One-clip_6104

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Portzamparc describes a couple of concert halls he has designed. The Luxembourg Philharmonic is located beside a office tower in a relatively non-descript square. He designed a facade of columns, letting light into the building, but blocking views of the surrounding buildings to create an open interior space. The design of the main concert hall has an ambiguity of space, which Portzamparc feels is ideal for listening to music. He also designed a concert hall for Nara, Japan, where he shaped the concert hall like a M?bius strip, which works well acoustically.


Christian De Portzamparc Part One-clip_6105

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Portzamparc describes his project for the Cit? de la Musique near Paris. It consists of a large music and performing arts school, and concert hall complex. It is not a monolithic building, but rather interconnected blocks. For acoustic reasons, rooms with parallel walls are undesirable, so the design of each block is different and suits the purpose. He also created very open interstitial public spaces to encourage students to meet, where you are engaged but not necessarily performing.


John Lautner-clip_1734

View the Full Video: John Lautner
January 23, 1991 | Video Lecturer:

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John Lautner begins his slide show with images of his beginnings in northern Michigan and the cabin his father built. He discusses his arrival in Los Angeles and how he managed to get started without any financial backing. He discusses a number of his techniques he invented such as his use of independent roof structures and his solution for leaking window panes.


Robert Winter

March 23, 1988 |
Introduction by:

Robert Winter discusses the evolution of musical spaces. He shows photographs of historic venues for music, outdoor spaces, concert halls, and opera houses. In addition to describing various buildings, he plays samples of classical music by composers from the same period. He describes the reverberation caused by the structure and hard reflective surfaces in churches as a highly prized goal. Winter describes acoustical integrity and the ability of architects to build spaces for music. He explains, “the biggest enemy of sound in the 20th Century, I believe has been plywood paneling.” He describes the acoustics of Carnegie Hall in New York City. Winter shows the Philharmonie in Berlin and calls it, “acoustically sensational.” He also talks about Le Corbusier’s Philips Pavilion at the 1958 World’s Fair in Brussels. Winter believes, “architects need to have their own musical consciousness” in order to design music spaces.

 

 

 

 


Paul Kennon Innovation in Architecture-clip_2235

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Kennon discusses various projects completed by his firm. He discusses the design methodology utilized within certain projects, such as gaming. He also discussed some innovative approaches applied to the New York Philharmonic, implementing computerized ceiling panels. Within the Akron Performing Arts Hall, they reduced the weight of the ceiling utilizing a catenary system, which incorporated stage rigging and located the counterweights in the lobby that served as a sculptural piece. Kennon discusses the implementation of a chassis that provided a functional grid for elements to plug in to for a medical facility interested in keeping spaces flexible.


Frank O Gehry Part One-clip_899

View the Full Video: Frank O Gehry Part One
January 1, 1975 |

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Frank Gehry begins with a short discussion of his architectural method and his aspiration to design that springs from his subconscious. He goes on to relate his dislike of the traditional air, light and sound measures taken in most retail and office environments and explains his work to change these in two retail locations for Joseph Magnin Company. In these two projects Gehry integrated indirect lighting systems as well as unconventional air distribution which allowed for flexibility and cost savings.