ardi book first few pages

Schizophonic Retreats 1/1

Sound Explorations The Schizophonic Retreats


Energy / Sound / Environmental Concern

by Ardi RexhepiTHE SCHIZOPHONIC RETREATS

Diploma 18


00. Introduction - Energy Attack Unit

Phase 1 - Research and Analysis

01. Case Studies

02. Masters of Music

03. Sound and Architecture

04. Discovery

Phase 2 - Experiments and Instruments

05. Introduction

06. Experiment 1 - The Sonic Shadows

07. Experiment 2 - The Venturi Formations

08. Experiment 3 - The Acapella City

09. Experiment 4 - The Arctic Symphony

10. Experiment 5 - The Galapagos Sway

Phase 3 - Compositions

11. Composition 1 - The Sonic Shadows

Composition 2 - The Venturi Formations

Composition 3 - The Acapella City

Composition 4 - The Arctic Symphony

Composition 5 - The Galapagos Sway

Phase 4 - Performance

12. Performance 1 - The Sonic Shadows

Performance 2 - The Venturi Formations

Performance 3 - The Acapella City

Performance 5 - The Galapagos Sway

13. Conclusion

7

8-21

22 - 35

36 - 41

42 - 43

44 - 47

48 - 77

78 - 91

92 - 105

106 - 119

120 - 127

130 - 131

132 - 133

134 - 135

136 - 137

138 - 139

142 - 143

144 - 145

146 - 147

148 - 149

150 - 151

INDEX

Diploma 18


The unit methodology is driven by research. To-

day research is not about a linear progression where

A leads to B leads to C and eventually ends up at

E; instead it is a multi-directional process where A,

B,C,D,E develop simultaneously to each other.

As a result, the unit is rooted in deep self-suffi-

cient research comprised of independent research

“silos”. The silos employ diverse research tools such

as literature review, empirical physical testing or par-

ticle simulation. Thus the conclusion of each silo gets

presented in different media from printed graphics

to theatrical performance to digital animation. The

knowledge collected in the silos leads to the develop-

ment of an individual portfolio proposal.

Diploma 18 continues its exploration on terri-

tories affected by global warming by focusing on

the natural patrimony of the Galápagos Islands. It

is within this isolated archipelago that Darwin en-

countered the complex biodiversity that enabled

him to complete his taxonomies and construct his

theory of evolution. These islands are still used as

a ‘live laboratory’ to investigate and understand

microevolution and speciation. However, this frag-

ile environment (on UNESCO’s list of Endangered

World Heritage sites) is highly threatened by invad-

ing species, pollution, over-exploitation and, most

importantly, climate change, and can be seen as a

microcosm of the changes occuring in our world.

This year we will start in Barcelona, exploring

on lightness, space, structure and geometry, as

well as physical and climatic phenomena, through

an investigation of soap films. We will run a series

of seminars on generative design methodologies

through the application of algorithmic techniques

in processing. Students will analyse the archipelago,

using a taxonomy of resources such as recursion,

branching, swarm behaviour, cellular automata and

fractals.

The design projects will be initiated by a unit

trip to the Galápagos. From there, each student will

select a specific theme of analysis related to climate

change that will ultimately unfold into a design the-

sis addressing social, political, economic and eco-

logical matters.

The unit proposes a research-based agenda that

will compel students to take an independent posi-

tion towards the role of the architect in a world af-

fected by global warming, with empathy, leading to

a new environmental consciousness in architecture.

Green politics is a political ideology that aims to create an ecologically

sustainable society rooted in environmentalism, social justice, and grassroots

democracy. It began taking shape in the western world in the 1970s; since then

Green parties have developed and established themselves in many countries.

00.1ENERGY ATTACK UNIT

Diploma 18


Like the Beijing National Stadium, Allianz was designed by Swiss architecture

firm Herzog & de Meuron, which created a stadium with 2874 inflated ETFE

plastic panels, giving it a billowy, cloud-like form.

01.1CASE STUDY - THE ALLIANZ ARENA

Case Studies


EXTERNAL MEMBRANE

ETFE Cushions

SECONDARY STRUCTURE

120X220 Steel RHS

PRIMARY STRUCTURE

Pre-cast spun concrete


The arena facade is constructed of 2,874 ET-

FE-foil air panels that are kept inflated with dry air

to a differential pressure of 0.038 hPa. The panels ap-

pear white from far away but when examined closely,

there are little dots on the panels.

The stadium construction began on 21 October

2002 and was officially opened on 30 May 2005. The

primary designers are architects Herzog & de Meu-

ron. The stadium is designed so that the main en-

trance to the stadium would be from an elevated es-

planade separated from the parking space consisting

of Europe’s biggest underground car park.[6] The roof

of the stadium has in-built roller blinds which may

be drawn back and forth during games to provide

protection from the sun.

Those translucent panels also allowed the architects to change the appearance

of the stadium by adjusting illumination. Allianz “accentuated what we can do

with light technology,” Niemuth says, “to completely transform these buildings

with the color of lighting instead of just hanging a sign on it.”

01.1aCASE STUDY - THE ALLIANZ ARENA

Case Studies


SECONDARY STRUCTURE

120X220 Steel RHS

PRIMARY STRUCTURE

Pre-cast spun concrete

EXTERNAL MEMBRANE

ETFE Cushions


Approximately 120,000 cubic meters of concrete were used to construct the

stadium and 85,000 m³ for the parking lots. We used 22,000 tons of steel for

the construction of the stadium and 14,000 tonnes for the construction of

parking lots, whose area is approximately 270,000 sq meters.

01.1bCASE STUDY - THE ALLIANZ ARENA

available. If the blower fails and water collects during

the resulting cooling process, a type of valve opens at

the lowest point so that the moisture can flow away

before the mass of water overloads the roof construc-

tion.

The roof of the Allianz Arena consists of 2,874

air cushions and has a total surface area of 64,000

square meters. This is the world’s biggest roof made

of foil. The foil is only 0.2 mm thick and up to 98%

UV-permeable. Each cushion has a surface area of

approximately 35 square meters, although none of

the honeycombs made of ethylene tetrafluoroeth-

ylene has precisely the same shape. Giant fans un-

derneath the stadium pump up the cushions and

ensure that there is always an adequate supply of air

Case Studies


The artistry of kinetic sculpture is varied and beautiful. Wind causes these

sculptures to twist and turn, and their counterbalances and carefully weighted

components require only the slightest nudge to begin a random and undulating

movement.

01.2CASE STUDIES - ART INSTALLATIONS

Case Studies

Sound Explorations The Schizophonic RetreatsSound Explorations The Schizophonic Retreats


The Singing Ringing Tree is a wind powered sound sculpture resembling a tree

set in the landscape of the Pennine mountain range overlooking Burnley, in

Lancashire, England.

01.2CASE STUDY - THE SINGING RINGING TREE

to erect a series of 21st-century landmarks, or Pano-

pticons (structures providing a comprehensive view),

across East Lancashire as symbols of the renaissance

of the area.

The Singing Ringing Tree is a sound powered

sculpture resembling a tree set in the landscape of

the Pennine mountain range overlooking Burnley,

Lancashire. Designed by architects Mike Tonkin and

Anna Liu of Tonkin Liu, the tree is a 3 metre tall con-

struction with comprising pipes of galvanised steel

which harness the energy of the wind to produce a

slightly discordant and penetrating choral sound

covering a range of several octaves.

The Singing Ringing Tree is a musical structure

found in Lancashire, England, which makes beautiful

tones whenever a light breeze sweeps by its exposed

tubes. With the effect of blowing over the open neck

of a bottle, times a thousand, this structure fills the

air with music. The Singing Ringing Tree makes wind

chimes seem like child toys; its music and organic

shape reawakens a passion for the natural world

that’s unexpected from something constructed out

of such industrial materials.

The Singing Ringing Tree is a wind powered sound

sculpture resembling a tree set in the landscape of

the Pennine mountain range overlooking Burnley, in

Lancashire, England.

Completed in 2006, it is part of the series of four

sculptures within the Panopticons arts and regener-

ation project created by the East Lancashire Environ-

mental Arts Network (ELEAN). The project was set up

The artistry of kinetic sculpture is varied and

beautiful. Wind causes these sculptures to twist

and turn, and their counterbalances and careful-

ly weighted components require only the slightest

nudge to begin a random and undulating movement.

Wind powered art is no longer just a fake wind mill

sitting on your lawn, it now makes up exhibition

pieces in some of the most famous museums the

world over.

It’s interesting how many artists like to empha-

size the combination of natural forces and man

made materials by creating wind powered sculptures

in the shape of trees or organic looking structures.

Some artists go an entirely different direction, how-

ever, by creating sculptures that look entirely alien

and disconnected from nature, until the whistle of

wind through their tubes reveal them to be just as

connected as the rest of us.

Case Studies 16/17

Sound Explorations The Schizophonic RetreatsSound Explorations The Schizophonic Retreats


Oceans teem with microscopic organisms that are constantly drifting down

towards the sea bed, attaching to and colonising on the way any hard secure

surface, such as rock outcrops, and thereby creating the basis of a natural reef.

01.3CASE STUDY - UNDERWATER SCULPTURE

modelled after local residents. This will also include

the world’s first kinetic underwater sculpture using

living fan coral.

Apart from this, some of the sculptors are made

with live coral cuttings rescued from areas of the reef

system that have been damaged either from human

activity or from storms. This technique plays a vital

role in reef conservation. Moreover, to ensure the

safety of marine life, Taylor made use of inert pH

neutral environmentally friendly marine cement to

construct the sculptors.

types of sponges, hydroids, corals and thereby cause

overall increase in the reef biomass. This, in turn, can

support an entire marine ecosystem.

The location of the sculptors also allows the re-

covery of the natural reefs in the region as it draws

the visitors away from them thereby providing the

required space for natural rejuvenation.

It was in the year 2006 that Taylor created the

world’s first underwater sculpture park off the coast

of Grenada in the West Indies. Works in the park in-

cludes the Lost Correspondent, Grace Reef and the

Unstill Life.

The Grenada Park was followed by the creation of

the monumental MUSA (Museo Subaquatico de Arte)

museum in Cancun having over 400 unique sculp-

tural works. An additional 60 sculptors will be added

to the museum in July, 2012, many of which will be

Mysterious, attractive and ephemeral; over 400

submerged life-size statues created by Mexico-based

English sculptor Jason deCaires Taylor, off the coast

of Cancún has become the hotspot for tourists and

vacation divers from across the world.

Every year, close to 750,000 visitors travel to the

Cancun Marine Park, situated close to the coast of

Isla Mujeres in Mexico to get a glimpse of these fasci-

nating underwater sculptors.

The exclusive marine park is however not merely

an underwater attraction providing scuba divers an

exciting “subaquatic” experience but is also a haven

for fish and other forms of marine life.

By creating these permanent sculptors, deCaires

Taylor aims to establish a balance between man and

nature by increasing marine biomass and attracting

various fish species to the region. These artificial

reefs becomes a source of attractions for various

Case Studies 18/19


‘Take the stairs instead of the escalator or elevator and feel better” is some-

thing we often hear or read in the Sunday papers. Few people actually follow

that advice. Can we get more people to take the stairs over the escalator by

making it fun to do?’

01.4CASE STUDY - PIANO STAIRCASE

Volkswagen will soon be launching a website

called thefuntheory.com, which will show various

ways they have attempted to change their behaviour

for the better. Presumably this won’t include driving

less.

Commuters soon opted for the intriguing new

stairway and enjoyed making musical movements as

they ascended up and down the scale.

The car company found 66 per cent more people

than normal chose the musical stairs over the esca-

lator.

A video of the innovation has since become an in-

ternet hit, as the concept resonated with thousands

of web users. A number of people have posted their

own videos on YouTube showing their attempts to be-

come top-flight musicians.

Apart from the fighting fit, most of us struggle

taking the stairs during the morning commute to

work, especially if there is an escalator right next to

them.

Now Volkswagen has come up with a nifty way

of encouraging people to exercise more... by making

climbing the stairs a note-worthy experience.

Overnight, a team transformed the stairs leading

out of the Odenplan subway in Stockholm, Sweden,

into a giant functioning piano keyboard - much like

the piano made famous in the Tom Hanks movie Big.

Applying pressure on each step played a musical

note.

Case Studies

ardi book first few pages

Documents

sound explorations

city performance

city composition

day research

venturi formations performance

venturi formations composition

sonic shadows performance

sonic shadows composition