With ideas like Musique Concrète and the Lo-Fi aesthetic, people have made do with what they had to hand to make music. Artists operating in this field will be invited to take up residence in the building and fill blank rooms with their clutter from which they extract a bricolage of sounds. They will also share their processes with young and perhaps disadvantaged people, also using the building, navigating their own path through the vast spectrum that music holds. Like the artist’s objects the building is composed as an ephemeral collection of elements; each with its own spatial and material characteristics. These are assembled on the site, working with its hints. A free circulation allows the occupants to collage spaces together, making their own connections or leaps, forming shifting relationships between the elements. It is a place that does not bow to the predictions of latent circumstances but uses them in its own way.
Bricolage An Alternative Mark-Making Physical Music Making Do . Turning On With ideas like Musique Concrète and the Lo-Fi aesthetic, people have made do with what they had to hand to make music. Artists operating in this field will be invited to take up resi- dence in the building and fill blank rooms with their clutter from which they extract a bricolage of sounds. They will also share their processes with young and perhaps disadvan- taged people, also using the building, navigating their own path through the vast spectrum that music holds. Like the artist’s objects the building is composed as an ephemeral collection of elements; each with its own spa- tial and material characteristics. These are assembled on the site, working with its hints. A free circulation allows the occupants to collage spaces together, making their own connections or leaps, forming shifting relationships between the elements. It is a place that does not bow to the predictions of latent circumstances but uses them in its own way.
Transcript
Bricolage
An Alternative Mark-Making
Physical Music
Making Do .Turning On
With ideas like Musique Concrète and the Lo-Fi aesthetic, people have made do with what they had to hand to make music.
Artists operating in this field will be invited to take up resi-dence in the building and fill blank rooms with their clutter from which they extract a bricolage of sounds. They will also share their processes with young and perhaps disadvan-taged people, also using the building, navigating their own path through the vast spectrum that music holds.
Like the artist’s objects the building is composed as an ephemeral collection of elements; each with its own spa-tial and material characteristics. These are assembled on the site, working with its hints.
A free circulation allows the occupants to collage spaces together, making their own connections or leaps, forming shifting relationships between the elements.
It is a place that does not bow to the predictions of latent circumstances but uses them in its own way.
F i e l d s
This was our first exercise.
It would be something that brought inter-est to the site before the building was stood.
~
I discovered a new city from a different ap-proach. Some of its streets and alleys were flow-ing, some just trickling away and some dried up.
I proposed four new channels into the site, to activate it using mechanisms such as in-trigue, vantage, blurring of surroundings, and pressure differences to draw people in.
The discovery and activation of this place would occur in three stages of events
View of the site.
The Fields arranged in group site model.
‘The Music Courtyard’
R o o m s
I was after a certain balance of functions.
(It’s low and the music isn’t elevated. Moving to it though; in your strut to the bar. There are dark tables where we sit down after the walk there and drink for the
place to fill up. People are dancing and I ask the guy what it is to. He points at the label, gives me a name to find it the next day. We got right the way across the
room and lean against a warm wall by the end. )
Each came with their own conceptual frame-work.
I began by creating intense atmospheres, with only a few ideas of volume and little on form, building a kind of stage set for each.
I developed material and spatial character-istics and gradually specified the four rooms, enriching the drawings over and over again.
Stage Sets and Materiality & Construction Diagrams
Electricity
Water
Electricity
screw pile foundations
steel frame
prefabricated plywood boxesclamped into frame
Eternit Natura �bre cement cladding
transparent polycarbonatecirculation space
steel spiral staircase
bricolage rooms ventilation
ventilation
Natural Stack Natural Stack
Electricity
Water
Electricity
screw pile foundations
steel frame
prefabricated plywood boxesclamped into frame
Eternit Natura �bre cement cladding
transparent polycarbonatecirculation space
steel spiral staircase
bricolage rooms ventilation
ventilation
Natural Stack Natural Stack
Circulation spaces of the Bricolage Rooms.
The inside of the Experiment Stage might look a bit like Yoshi Wada’s sound installation for the AV Festival.
Mechanical ventilation
Me
chan
ical ventilation
M
echanical ventila
tion
Electricity
corrugated �brecement roof
steel portalframe
inner satin curtain
sliding plywoodpanels
outer satin curtian
sound installations
steel door and wallset into Experiment Stage frame
ramp fromCuration Studio
timber slats
experiment stage
exposed reverberationstair
�xings for stage lights
Mechanical ventilation
Me
chan
ical ventilation
M
echanical ventila
tion
Electricity
corrugated �brecement roof
steel portalframe
inner satin curtain
sliding plywoodpanels
outer satin curtian
sound installations
steel door and wallset into Experiment Stage frame
ramp fromCuration Studio
timber slats
experiment stage
exposed reverberationstair
�xings for stage lights
Early drawing of the Curation Studio.
Views of the exterior.
Electricity
Nat
ural
cro
ss v
entil
atio
n
Nat
ural
cros
s ven
tilat
ion
PTFE roof with quilted rock wool insulative layer
leaning panelsDanpalon translucent insulationtimber frameembedded re-routeable lighting and electricity
leaning timber posts�xed to head of screw pileswiveling and tilting connection
plywood walkway/ working platform resting on light steel truss spanning between posts
curation studio
Gripple cable tensioners
steel cables
Electricity
Nat
ural
cro
ss v
entil
atio
n
Nat
ural
cros
s ven
tilat
ion
PTFE roof with quilted rock wool insulative layer
leaning panelsDanpalon translucent insulationtimber frameembedded re-routeable lighting and electricity
leaning timber posts�xed to head of screw pileswiveling and tilting connection
plywood walkway/ working platform resting on light steel truss spanning between posts
curation studio
Gripple cable tensioners
steel cables
I n t e r s t i c e s
The spaces had grown as separate elements. How would they come together?
I started thinking about their evolution on site; in sequence. It was a kind of symbolic gesture as to how much each element represented ‘making do’.
*
What then became important was where the elements joined and how other functions could be possible at these points.
Between the main rooms I established spaces for participation and appropriation, function-al relationships for moving props and equip-ment, an auditorium. But, like the composi-tion of a collage, the users might change them round and discover other ways in which the elements could work together.
Site manual and joints
Mar
ket E
ntra
nce
Bricolage Rooms
Bricolage Rooms
Bricolage Rooms
Experiment StageCourtyard
joint 1. Participation Space and Viewing Platforms
Experiment Stage
Mar
ket E
ntra
nce
Bricolage Rooms
Bricolage Rooms
Bricolage Rooms
Experiment StageCourtyard
joint 1. Participation Space and Viewing Platforms
Experiment Stage
joint 2. Auditorium
Bric
olag
e R
o
Curation Studio
ge Rooms
Market Entrance
Pudding Chare
Experimen
joint 2. Auditorium
Bric
olag
e R
o
Curation Studio
ge Rooms
Market Entrance
Pudding Chare
Experimen
Experiment StageC
uration Studio
Pudding Chare
Grainger Street
Courtyard
io Curation
joint 3. Courtyard and Echo Stair
Users circulate the building collaging the spaces together. The loose connections between the elements allow people to work out the ways in which they might �t together best and establish relationships between them.
Experiment Stage
Curation Studio
Pudding Chare
Grainger Street
Courtyard
io Curation
joint 3. Courtyard and Echo Stair
Users circulate the building collaging the spaces together. The loose connections between the elements allow people to work out the ways in which they might �t together best and establish relationships between them.
Details, Plans, Sections
SnapLok wall capping260 x 86.5 x 2mm
UPVC gutter54 x 115 x 3mm
roo�ng felt6mm
steel I beam305 x 165
steel I-beam152 x 81mm
internal shutterplywood 1170 x 1000 x 9mmtimber spacers 10 x 10mmsoftwood framedouble glazing 780 x 780mrubber seal
