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Music Space And Architecture.pdf


As a student in the Corcoran, you have the opportunity to use innovative spaces to create your art, both as a part of class and outside of it. From specialty studios, labs and spaces, you can explore and push the limits of your creativity.




Music Space And Architecture.pdf



Please note that using our spaces requires that you be a currently registered Corcoran student, training before use, and are contingent on class schedules. If you have any questions, contact [email protected] or check the open studio calendars for real time updates.


Our Theatre and Dance classes take place in performance spaces where you can put what you learn directly into practice. Our administrative office is located in Building XX at 814 20th Street, NW (3rd Floor); XX is accessible any day with GWorld.


Corcoran students get hands-on experience, including in the Etching-Lithography Studio in the Flagg Building. Students also have access to dance and music studios, wood and ceramic studios, fabrication labs, and more.


As abstract art forms based on rhythm, proportion and harmony, architecture and music share a clear cultural lineage. Now, through digital expression, architecture can attain new heights of creative supremacy


Notre Dame interior, bay rhythm and its three superimposedlevels. Each of these horizontal areas can be seen as a differentchoral voice. At the time, 1240, the composer Pérotin wassuperimposing one plainsong chant on top of another: musicaland architectural harmony developed in parallel through notationsystems. The notebooks of Villard de Honnecourt, circa 1240,show the nave elevation of Reims cathedral, and reveal that heappreciated its rhythmical subtleties


Sauerbruch Hutton, Brandhorst Museum, Munich, 2008-11. Thestripes of colour are tilted in horizontal layers to deflect the roadnoise from the museum and muffle it, a clever invention that wonthe competition for the architects and, as a by-product, createdthe haunting set of joyful illusions that change with the distanceof the observer. The sliding and shifting between visual chordshere produces a literal version of musical chromaticism, theblending of colour overtones


Creative background art raises another perplexity. Architecture has a required flip-mode that seems to be unique, and appreciated for so being. It is admired for being an artistic foreground but, with a shift in perspective, it flips into the background and becomes valued as urbanism. This change is not demanded of sculpture, or painting (unless a Tiepolo ceiling), or music (unless performed for special circumstances). The flip mode as contextual counterpoint will be considered next, but there are several designers who have built a background contextualism that still remains interesting, and relevant ecologically: Alison Brooks, Bill Dunster at BedZED, and above all Alan Short, who has worked at impossibly constrained sites with low budgets. For instance, his building for Slavonic studies, in a traditional London brick context, produces a low-key music. It manages to squeeze extra floors and numerous eco-requirements into a streetscape while also giving an understated rhythmical complexity that enlivens the long city block: vertical, horizontal and even diagonal patterns of movement.


As often pointed out, a scientific analogy between two things is good if it is reduced to one or two qualities of comparison, whereas a cultural analogy can be better for revealing many parallels, as long as the differences are acknowledged. With columnar and window architecture, with buildings that have structural bays and tectonic articulation, the rhythmic parallel to music is narrowly scientific and precise. While it is true relationships change as you move through a building, you can stand still and read the facades of a bay like a musical score, one of the great pleasures of traditional architecture. Even more musical in rhythmic complexity and delight is the Grand Canal in Venice, which can be experienced as one long symphonic transformation of related themes.


Coop Himmelb(l)au, Dalian Conference Centre, China, 2008-12.A continuously changing surface that rises and falls and bulgesin the middle to include a theatre and opera house. Organisedlike block chords of music that open up and close, it is reminiscentof both Wagnerian chromaticism and the tonal melding ofPhilip Glass and John Adams


Different building types have different goals for the type of space they want to create. In workplaces, it might be about what desirable amenities are offered to employees, in addition to being a comfortable place to work. Colors and brand integration are potentially important for creating a sense of identity, and the way designers handle that can be nuanced and highly impactful.


At the Saugus School District Plum Canyon project, we achieved this through an approach of creating destinations throughout the building. We concentrated on the classrooms and the connecting corridors as they are the most heavily used spaces.


Another project in which we created a sense of place is the Diamond Bar High School, in both the music and science buildings. In the Music Building, we wanted to bring in a feeling of movement, reminiscent of the ups and downs of the musical note. Using a sound wave image as inspiration we utilized the acoustical baffles that are required for proper acoustics in a linear, tonal range of purple to white along all walls within the orchestra room.


We then abstracted each trying to reach one common form for all three, resulting in a rhombus shape. Taking this shape, we applied one to each classroom, morphing the rhombus shape to carry across the floor, onto the wall, and across the ceiling. Each rhombus surface was painted in the same color so that the shape engulfs a portion of the room in a bold statement. Each classroom type received a unique color and unique rhombus shape, in the end creating energetic spaces with a tie back to the dynamic learning happening within.


As part of the larger effort to improve indoor air quality for classrooms, High Efficiency Particulate Air (HEPA) units have installed in classrooms where other improvement strategies were not feasible. With over 130 units installed, this effort complements other initiatives that either increase the daily fresh air changes or improve filtration for more than five million square feet of academic space. The HEPA filtration systems are laboratory certified to capture 99.6% of particulates in the air that are the size of SARS-CoV-2, commonly called COVID-19. The units will filter the air in each classroom three to four times each hour, depending upon the size of the space. For more information on the tested performance of these systems, please see the technical report (PDF)for the PuraShield 500 system


Opened in February 2007, The Perry and Marty Granoff Music Center is home to the Tufts Department of Music and is the focal point for all musical activities on the Medford campus. The center presents hundreds of events and concerts annually and hosts the Tufts Community Music Program for children and adults. Since the facility opened, thousands have entered the center's performance halls and classrooms to experience and learn about music.


Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the book builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives.


Please submit a video sample of your dance performance between 4 to 6 minutes in length. List your name, title of the piece, choreographer, music composer/title, and the place and date of your performance. If not a solo recording, also indicate your performance in the description section of the media details. You may upload a video file no larger than 250 MB or provide a link to a video hosting site (e.g. YouTube or Vimeo). Videos should not include any biographical or introductory material. Submissions should reflect material filmed within the last two years.


Based on the analysis of the data of the landscape live performances which have already been performed, this paper combs the development process of the live performances and other information of the performance types so that the public can have a clearer and clearer understanding of the live performances. Through time-frequency domain analysis method, the characteristic elements of waveform music are extracted and classified into sub-music segments in different rough emotional domains according to certain classification methods. And the application weights of the feature values of each music feature are defined in different emotion domains, which makes the input of the system more rational. For the output of the light action control data, this article has a certain interpretation of the DMX512 data, making the interpretation of the output more intuitive. The basic characteristics of music include speed, mode, beat, tone, volume, and the pitch, pitch, and length of notes. Therefore, in the future, the method of realizing music visualization in architectural lighting design and the method of realizing interaction with people will have more possibilities.


The relationship between architecture and music has a long and difficult history. The subject is usually examined from the perspective of one particular discipline or the other. The book 'Music, Space and Architecture' offers a new approach that builds on the idea of space as a medium between music and architecture. Using a multidisciplinary approach contributors raise the question how sound (and music) influences the atmosphere of a building and vice versa. How does the design of space influence the sound of this space? How is this experience interpreted at the scale of urban and architectural space, in experimental forms of space and in the more diffuse realm of intrinsic space? And how can the knowledge and insight aquired through research be deployed in spatial design? What makes the perfect music hall? 350c69d7ab


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