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Anisotropia
Anisotropia
Beijing, China
Finalist, 2014 A+Awards, Concepts - Architecture +Sound
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Anisotropia
Beijing, China
Finalist, 2014 A+Awards, Concepts - Architecture +Sound
"SHIFTING TONES
Klavierstück I uses a twelve-tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted.
Using this principle of modulation, the rows get transposed, reduced and extended in their size. The different voices are starting to separate, the size of the parallel ranges starts to diverge, move past each other, grow together again and finally fade out towards the top.
Klavierstück I is based on a simple row of twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.
STRUCTURE AND LIGHT
The wall system becomes the physical manifestation of Klavierstück I. It uses parallel bamboo lamella to create the rhythmic structure. The basic unit of two strips creates form into two dimensions, and becomes a straight extrusion into the third dimension. Multiplied into the first two dimensions it develops and gets modified in the same way in which the twelve-tone row gets repeated and modified in time.
The extrusion in the third dimensions allows for a horizontal modification during the development of the wall, which is used in a linear direction similar to the continuous upwards movement of the piano piece. In Klavierstück I always only the upper few tones of each twelve tone row are audible and create the floating field of rhythmic transformations. Similarly in the installation, only the peaks of each strip become visible and create a floating field of structure, shadow and light."
Klavierstück I uses a twelve-tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted.
Using this principle of modulation, the rows get transposed, reduced and extended in their size. The different voices are starting to separate, the size of the parallel ranges starts to diverge, move past each other, grow together again and finally fade out towards the top.
Klavierstück I is based on a simple row of twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.
STRUCTURE AND LIGHT
The wall system becomes the physical manifestation of Klavierstück I. It uses parallel bamboo lamella to create the rhythmic structure. The basic unit of two strips creates form into two dimensions, and becomes a straight extrusion into the third dimension. Multiplied into the first two dimensions it develops and gets modified in the same way in which the twelve-tone row gets repeated and modified in time.
The extrusion in the third dimensions allows for a horizontal modification during the development of the wall, which is used in a linear direction similar to the continuous upwards movement of the piano piece. In Klavierstück I always only the upper few tones of each twelve tone row are audible and create the floating field of rhythmic transformations. Similarly in the installation, only the peaks of each strip become visible and create a floating field of structure, shadow and light."
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