Under the theme “Space and event,” Bernard Tschumi discusses his early publications Advertisements for Architecture (1977) and The Manhattan Transcripts (1981), and the early follies that led to the project for La Vilette (1982-98). He discusses his projects for the Tokyo Opera House (1986) and Kansai Airport (1988) and Le Fresnoy Art Center (1997) in terms of “Program and Juxtaposition.” Tschumi describes the advent of digital design in conjunction with the theme “Vectors and envelopes,” including projects such as the Rouen Concert Hall (2001) and the Vacheron Constantin Headquarters (2005).
Video Archive | Concert halls (8)
Bernard Tschumi discusses the Acropolis Museum (2009) and the Cincinnati Athletics Center (2006) under the theme “Context/Concept/Content”. Under the theme “Form/Concept” he discusses the Carnal Dome (2004), the Al?sia Museum (2012), the Paris Zoo (2014), and the ANIMA Cultural Center (2015).
Reiser presents his design for Terminal 3 at the Shenzhen Airport as an extension of ideas from the O14 Tower in Dubai, applying a similar opening system on a surface with more complicated curvature. The Taipei Pop Music Center is an indoor/outdoor performance space and office tower for the Taiwanese music industry. The organization of the project began as a classical circus which they developed into an urban morphology.
Bernard Tschumi discusses several projects, including: Parc de la Villette, the Glass Video Gallery in Gr?ningen, the Rouen Concert Hall and Exhibition Complex, the Limoges Concert Hall, the Vacheron Constantin Headquarters, and the School of Architecture, Florida International University.
Following an introduction by Karl Chu, Jesse Reiser presents a recent paper in addition to three projects. Reiser first reads The New Fineness, a paper dealing with a methodology based on a fine scale of structures and organizations expanded to address larger scale interactions and requirements. He presents the East River Corridor project, the Graz Music Theater and the West Side Convergence project and discusses his working methodology as well as the movement of ideas between scales.
Portzamparc describes in detail his design for the Luxembourg Philharmonic, a proposed concert hall for Nara, Japan, and the Cit? de la Musique complex in Paris. He then delves into his early career to demonstrate how he has dealt with the issue of placemaking. He then discusses his views on urbanism, building massing, sightlines, and how they relate to modernism’s and classicism’s conception of the city. Portzamparc then presents several examples of his views put in action including the Quartier Massena. He finishes with a couple of buildings that are quite distinctive examples of public space, including the extension of the Paris Convention Center and the Espace des Sciences in Rennes.
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.
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.