Architecture is always frame experience. So I don’t think we are now about to do is any different. Only with theatre architecture, we are asked to is makes that relationship more explicit. The scales and engagement we can have with performance and interaction of us makes a really interesting playground for architects.
Using the architecture of the space and sounds of machines in the Museum this immersive installation explores the physical properties of the acoustic realm.
Bartlett MArch Unit 14 tutor Paul Bavister and architect Jason Flanagan with acoustician Ian Knowles have been researching the qualitative and physical properties of sound as Audialsense, and in professional practice as Arup & Flanagan Lawrence. Their work recreates, enhances and reveals acoustic phenomena, turning sound into physical site-specific installations dependant on the architectural qualities of a given space.
You have had CONTACTand experience with almost all artistic branches, with which one do you feel most comfortable? And which ones do you like to mix the most?
– That’s a really interesting question. Architecture has been my ACADEMIC training has fascinated me SINCE very long time ago, and I’ve always believed that it would be that, an architect. Because architecture involves many aspects and types of design, such as the spatial, the temporal or the material; it is a multisensory discipline in itself. And well, music has been a part of my life since I can remember, so I don’t remember very well when both things started to flow together. So I could not say if architecture or music came first. I think it is with these two that I feel most comfortable.
What things in your daily life inspire you in creating your work?
– I think the thing that inspires me the most is listening to music, in a pure way. The music itself. Because some types of music, especially electronics, give me visual responses; that’s why when I hear a sound I immediately know what I want to see and then I catch and it’s like “hey, I need to connect these two senses between them.” Show that relationship, like when I started animating or programming and wanted to create the live experience, based on those things that I had felt.
What do you think makes Barcelona different (artistically speaking) from other cities you’ve BEEN TO?
– That’s another pretty interesting question. I think Barcelona is a kind of leader in connecting DIGITAL practices as distant as programming, DIGITAL creation lab and music. There are many events that facilitate and show the connection between these three and I think it is very interesting and exciting than it is promoted in this way. There are other cities that do not take it into ACCOUNTand they focus things still looking very far into the past. I think Barcelona thinks and looks forward a lot.
Is there an artist you would like to WORK WITH?
– (laughs) There are sooo many! It is really difficult, that is to say, there are a lot of electronic composers and producers that I really love and from whom I would like to take their music and transform it into something spatial or some INSTALLATIONor visual show. But if I had to choose one, well, it’s difficult, but I think Jon Hopkins is massive and inspires me a lot, just like Trentemøller. I think his music, in particular, is incredibly multi-sensory, not just a sound. I think there would be plenty to explore there.
Your WORK Is it aimed at all kinds of people or do you want to reach a specific amount or group?
-Well, it’s funny that you say that, because originally this was not intended for the public. It was a project that I did as a STUDENTwhere development was simply to conduct research, it was just a type of test. And so one experiment led to another and that in turn to another, and I was DOCUMENTINGand making videos of everything. And gradually people wanted to know more and more and, well, NOW It has reached a much larger audience than I ever imagined, which is really exciting.