Karin Schaupp - Academia.edu (original) (raw)
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The Immersive Guitar Project responds to several needs that have been identified by Lancaster et ... more The Immersive Guitar Project responds to several needs that have been identified by Lancaster et al. (2009) highlighting relations between place and performance. These needs concern a rarity of suitable, intimate spaces for acoustic performance in Australia, and an appeal for more creative solutions in the provision of such spaces which would afford novel ways of accessing performing arts experiences. The project extends innovations in performance space design commenced by Le Corbusier and Xenakis in the twentieth century wherein instrument design as well as inventive approaches to musical composition inform the built outcome. Lutz (2007) notes the richness of variation amongst the inspirations and discoveries that have come out of this connection between music and architecture. He posits that beyond acoustics and the shared ideas of compositional structure and aesthetics there is another commonality; " … the affinities that are made possible between the tectonics of buildings and musical instruments" (p. 169). Lutz's argument and illustrations are building blocks for this project but the motivation for taking audiences into what is essentially a big guitar is not only about creatively exploring possibilities at the intersection of music and architecture, but also about filling a void in audience experience, and drawing attention to the significance of acoustic instrument evolution. In this paper, we take the reader through the proposition, provide some background and rationale for the project, and briefly survey the field of architecture inspired by instrument design. Two parameters of the investigation define what might come under consideration here: that the space can be inhabited; offering a distinctive listening experience; and that the structure can be 'played', offering the invention of a new instrument, and a new performative and compositional potential. Projects like this invigorate the dialogue between music and architecture through asking exacting questions about site, form, purpose, and materials.
The Immersive Guitar Project responds to several needs that have been identified by Lancaster et ... more The Immersive Guitar Project responds to several needs that have been identified by Lancaster et al. (2009) highlighting relations between place and performance. These needs concern a rarity of suitable, intimate spaces for acoustic performance in Australia, and an appeal for more creative solutions in the provision of such spaces which would afford novel ways of accessing performing arts experiences. The project extends innovations in performance space design commenced by Le Corbusier and Xenakis in the twentieth century wherein instrument design as well as inventive approaches to musical composition inform the built outcome. Lutz (2007) notes the richness of variation amongst the inspirations and discoveries that have come out of this connection between music and architecture. He posits that beyond acoustics and the shared ideas of compositional structure and aesthetics there is another commonality; " … the affinities that are made possible between the tectonics of buildings and musical instruments" (p. 169). Lutz's argument and illustrations are building blocks for this project but the motivation for taking audiences into what is essentially a big guitar is not only about creatively exploring possibilities at the intersection of music and architecture, but also about filling a void in audience experience, and drawing attention to the significance of acoustic instrument evolution. In this paper, we take the reader through the proposition, provide some background and rationale for the project, and briefly survey the field of architecture inspired by instrument design. Two parameters of the investigation define what might come under consideration here: that the space can be inhabited; offering a distinctive listening experience; and that the structure can be 'played', offering the invention of a new instrument, and a new performative and compositional potential. Projects like this invigorate the dialogue between music and architecture through asking exacting questions about site, form, purpose, and materials.