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RadioFavela - The Sound of Rio
RadioFavela - The Sound of Rio
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RadioFavela - The Sound of Rio
Design intentionsFavelas are coming from Rio de Janeiro,
Samba is coming from Rio de Janeiro,
Drugs are coming from Rio de Janeiro,
I‘m coming from Germany – Should I meddle with that?
Worldwide we are confronted with megacities and squatter settlement
with an extremely high density. To politicians, economists and
sociologists these squatters are a nightmare, but artists love it as a
treasure chest. I went to Rio de Janeiro, Brazil, to see what‘s going
on – with my own eyes. The situation is not assumable (unfassbar), but
very consumable (hörbar). Theatre, music, movies, (street) art, ... the
squatter indwellers did find so many ways to make themselves heard to
finally make themselves comfortable in the formal city.
>>>
My proposition/my reaction then is subsumable (fassbar): a
RadioProductionCentre with satellites, the city furnitures. I wanted to
tune (into) the process of intermunicipal communication. >>>
music which lead me throughout the whole process became the concept of
the whole building. CONCEPT OF THE TRANSFORMATION FROM DEPOT TO RPC
#The Metrum#
The depots pillars will function for the structure and infrastrucutre.
There are equipped with all kind of nets: water, electricity, internet,
intranet, water coniditioning.
#The Rhythme# The blue boxes will host the radio production like
schooling, mixing, studios. To achieve a private working atmosphere
these boxes hang in the second floor. #The Melody# This space is open
to anyone and invites anyone to enter like melodies do.Technical dataan
analysis of music and the favelas of whole Rio de Janeiro lead to the
solution of a RadioProductionCentre.
>>>
The reuse of the existent OVERDIMENSIONED structure of the storehouse
gave all liberty.
CLIMATE AND ACOUSTICS OF THE SPACE
The blue boxes have to comfort a working climate and good recording
conditions: Since the elevated innercity highway causes a km-wide
ground vibration the radio production has a real problem. It is
eliminated with a hanging construction in the U-profiles analogue to
microphones in studios. A light 3-skin construction blocks normal air
sound.
Another point for the light construction is Rios climate: WARM and
HUMID. No mass, no cold bridge, no condensation. The relative small
studios are supplied with fresh air with the water conditioning system
(located on the opening square).
Samba is coming from Rio de Janeiro,
Drugs are coming from Rio de Janeiro,
I‘m coming from Germany – Should I meddle with that?
Worldwide we are confronted with megacities and squatter settlement
with an extremely high density. To politicians, economists and
sociologists these squatters are a nightmare, but artists love it as a
treasure chest. I went to Rio de Janeiro, Brazil, to see what‘s going
on – with my own eyes. The situation is not assumable (unfassbar), but
very consumable (hörbar). Theatre, music, movies, (street) art, ... the
squatter indwellers did find so many ways to make themselves heard to
finally make themselves comfortable in the formal city.
>>>
My proposition/my reaction then is subsumable (fassbar): a
RadioProductionCentre with satellites, the city furnitures. I wanted to
tune (into) the process of intermunicipal communication. >>>
music which lead me throughout the whole process became the concept of
the whole building. CONCEPT OF THE TRANSFORMATION FROM DEPOT TO RPC
#The Metrum#
The depots pillars will function for the structure and infrastrucutre.
There are equipped with all kind of nets: water, electricity, internet,
intranet, water coniditioning.
#The Rhythme# The blue boxes will host the radio production like
schooling, mixing, studios. To achieve a private working atmosphere
these boxes hang in the second floor. #The Melody# This space is open
to anyone and invites anyone to enter like melodies do.Technical dataan
analysis of music and the favelas of whole Rio de Janeiro lead to the
solution of a RadioProductionCentre.
>>>
The reuse of the existent OVERDIMENSIONED structure of the storehouse
gave all liberty.
CLIMATE AND ACOUSTICS OF THE SPACE
The blue boxes have to comfort a working climate and good recording
conditions: Since the elevated innercity highway causes a km-wide
ground vibration the radio production has a real problem. It is
eliminated with a hanging construction in the U-profiles analogue to
microphones in studios. A light 3-skin construction blocks normal air
sound.
Another point for the light construction is Rios climate: WARM and
HUMID. No mass, no cold bridge, no condensation. The relative small
studios are supplied with fresh air with the water conditioning system
(located on the opening square).
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