CELETON, Excessive Music Hall
Postgraduate Master Thesis, Die Angewandte/University of Applied Arts Vienna
Studio Excessive, Hernan Diaz Alonso
suckerPUNCH: Describe your project.
alex SMAGA: Music goes under your skin . . . How to translate the sensation of music into architecture? How to explain the pleasure we experience while listening to Mozart, Beethoven or Jimi Hendrix? How architectural mutation processes correspond to music making? How architecture can stimulate the development of new styles in music?
The idea of the project is a place where embodied sound becomes a kind of mental building material. No city seems to be more appropriate for the creation of a new type of Music Hall than Vienna ‘the city of music’ The site: a sleepy outdated strip of an English style Park the Vienna city park called the Stadtpark in opposite of the MAK Museum of Applied Arts Vienna.
The project explores new aesthetics through production of acoustic mass and disruption with mathematical perfection of an evolutive mechanism of architectural speciation by driving different strategies and micro techniques i.e. bio genetics, nano biology driving architectural space (excessive mass, sinous distorted circulation, synaptic spatial experience) to the extreme. The generated richly
varied cavernous space provides choice for the musicians and gives heterogenous space for individualistic audience appropriation and continous gradient spatial experience between the rhizomatic behavior of architectures porous artificiality and the natures artificiality of the park.
Like an urban amplifier it is a seemingly perfect place for vanities concertgoers but the sack gets hit soon. The aim of functional
programmatic representation is subverted by the inevitable trap laid. Sooner or later you find yourself by getting lost in a deep looping endless Piranesian space exposed to the fading sound of dystopia.
Project drivers: Extreme excess (lat. “Excedere”, going beyond, overdose)
Partie: visualized single tone sound structures of electronic minimal music of repetitive cycles where form gets an element of cellular
viscosity. The traditional narrative happens to be discarded as smaller units with different rhythms are subdivided and permutated like a wheel work in a lab of biocomputing.
sP: What or who influenced this project?
aS: Redrock Grand Canyon, Craig Venter, Nouvels Music Halls for Tokyo and Lyon, Friedrich Kiesler.
sP: What were you reading/listening to/watching while developing this project?
aS: Piranesi, Bacon, Cage, Tosca, Penderecki, Atari Teenage Riot, Jack White, Lem, Lars von Trier.
sP: Whose work is currently on your radar?
aS: HDA, Greg Lynn, Tom Wiscombe, Francois Roche, Steven Ma.
Additional credits and links:
[Shining – opening scene]
[David Byrne, “How architecture helped music evolve”]
Credits: Hannah Luegmeyer, Pablo Roman, Ondrej Štefík & friends of Hmat 3D @ Twincity_Brati.