Comments on: Synaesthetic Filter by Stefan Rutzinger & Kristina Schinegger

By: acro

acro — Thu, 22 Jan 2009 18:40:53 +0000

I doubt this design’s ability to ‘dynamically’ change the acoustics. I’m sure it would have some effect, but I’d be willing to bet that a blindfolded listener wouldn’t be able to tell the difference easily.

However,

experimental music tends to be appreciated on a more conceptual level than even contemporary architecture… I think this design follows suit, even if it is incredibly impractical. (The beginning of this article identifies “proposed mobile pavilion for experimental music” – I don’t read German, so I’m trusting that “experimental” is a correct translation of the original.

That being said, I really like this.

By: kevtrout

kevtrout — Thu, 22 Jan 2009 03:29:44 +0000

HouseCat:
I will rephrase: “A room with good acoustics can be engineered to suit most musical performances.” This, after all, is what the statement indicates as the purpose of this pavillion. Not meetings. What is the value of dynamically changing the acoustics of a space DURING a performance? There are easier ways than the one proposed here.

By: HouseCat

HouseCat — Mon, 19 Jan 2009 21:06:14 +0000

Kevtrout:
“A room with good acoustics can be engineered to suit all sounds.” – NOT TRUE!!!
For instance: A room designed for playing symphony in will be terrible for holding a meeting. There is no such thing as good acoustic design that suit all sounds.

By: slater

slater — Mon, 19 Jan 2009 19:48:01 +0000

I’d be afraid that the “skin” if you could call it that is not dense enough to reflect sound effectively. I do love the transparent quality of it though. This is a very dynamic form, especially since it is created with the array of those fins. It would be interesting to see a prototype built and tested….

By: Arjan Scheer

Arjan Scheer — Mon, 19 Jan 2009 13:05:57 +0000

This is a fantastic promiss! I really like to see and hear it built. The theme of movement and architecture seems well suited in the music realm. To resort to experimental music performances in relation to changing physical and acoustic performance, seems a bit limiting to me. What if the space-visitor relation changes? That would be really interesting in my mind for a wide range of music.

By: memorexe

memorexe — Mon, 19 Jan 2009 03:12:35 +0000

Sounds impressive in theory– I’d be curious as to how the physical experience would pan out.

The Concert Hall in Lucerne is a similar animal or a kissing cousin at least: it’s engineered to acoustically adapt to 100 piece orchestras–or intimate solo guitar performances. I wonder if this filter could be applied to do something similar for conventional performance spaces.

By: kevtrout

kevtrout — Mon, 19 Jan 2009 01:08:44 +0000

What is the effect of changing acoustics in a performance area? Is it the modification of what we hear? Do the acoustics of a space change the sound from its original form, as in change the pitch or harmonic? Or do acoustics effect projection and reflection of that sound? When the acoustics of a room are referred to isn’t it usually to refer to the richness and life that the room adds to the music?

What is the effect of changing acoustics during a performance, as referenced above? Does it have enough value on the music to justify setting up a demountable system of rods, panels, ropes, and servo motors and training someone to operate it to the effect that the artists desire?

A room with good acoustics can be engineered to suit all sounds. I believe these principles can be transferred to create a demountable pavillion with good acoustics. I’m not sure of the value of dynamic acoustics for a musical performance or installation. Nothing that couldn’t be solved with much less expensive reverb and delay units anyway.

By: Bonk

Bonk — Sun, 18 Jan 2009 22:19:25 +0000

and the winner:
http://ohrenstrand.de/Teilnehmer08/1.Preis_ohrenstrand_mobil_08.htm

By: uri

uri — Sun, 18 Jan 2009 21:14:24 +0000

I would be curious to se how it moves, the motion generator behind the concept… maybe a video simulation or a scatch of the mechanical system.