Old Food von Ed Atkins im Martin Gropius Bau
STUDIO SINGER verknüpft die Gebiete AKUSTIK, ARCHITEKTUR und FORMGEBUNG zu attraktiven Lösungen, welche Kommunikation und Erholung im urbanen Raum ermöglichen.
In den Funktionen Ausstellungsarchitektur und Akustik begleitete STUDIO SINGER die Ausstellung "Old Food" im Martin-Gropius-Bau. Zu sehen sind Videoinstallationen von Ed Atkins, die inmitten von Kostümen aus dem Fundus der Deutschen Oper aufgestellt wurden. Wer sich die intensive/immersive Welt des Künstlers anschauen möchte, hat Zeit bis zum 07.01.18.
Fotos: © Ed Atkins, “Old Food”, 2017, Installation view, Martin-Gropius-Bau, Berlin, Photo: Mark Blower.
Courtesy the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York, Rome and dépendance, Brussels
Tag der Architektur
TAG DER ARCHITEKTUR 2017 / Architect Nataliya Sukhova and Studio Singer present Easy Busy – a family friendly Coworking Space, today at 15.00 and 16.00 hours at Bernauer Straße 49, 10435 Berlin | Mitte
Fotos: Marco Armborst | www.marco-armborst.de
Salon Berlin_02
In 2015 Christian Mevs, member of the band Slime, sound engineer and founder of the Soundgarden Recording Studio Hamburg, asked Studio Singer to consult him on the development of his new recording studio in the former GDR Fahrbereitschaft Berlin Lichtenberg with respect to room acoustics, building acoustics and design. To me that was a lucky coincidence.
Ten years earlier, I enjoyed an internship at the Walters-Storyk Design Group. I had worked on a series of recording studios for happy Grammy winners. After that internship I digressed from room acoustics. However, based on a constant liking for craftsmanship and acoustically as well as aesthetically successful spaces, me and my friends recently set up a studio for architectural acoustics. Christian's project became my dearly wanted return to the design of recording studios.
We started with the job by looking for a suitable building in the Fahrbereitschaft area and assessed the sound insulation of several buildings. Therefore we bought a big speaker and connected it to our measurement amp. The pink noise excitation signal that arose was heard blocks away. As such it was the well defined (most witnesses reported an alluring music concrete) start-up sound of this two year project. Based on these measurements and other factors, Christian went for a floor in a red brick factory building from the early 20th century. Sylvain Livache, sound engineer and owner of the label Twaague, joined the studio's user group and therefore two control rooms were planned around a recording room.
The initial concept for insulating the recording room was complemented with valuable solutions by the Berlin-based office of Krämer & Stegmaier. The proportions of the recording room were designed to fulfill the ITU-R 1116-1 recommendation for optimal (aka golden) room ratios. As regards the acoustics we aimed at -- in physical terms -- a high degree of diffusion and a moderate frequency-independent reverberation time. This led to -- in general terms – an immersive but airy room experience, where transients dissolve gently and notes unite. The undulating surfaces suppress flutter echoes and include huge plate absorbers for attenuating low frequency energy. Three walls are equipped with a diffusor for mid to high frequencies. The porous absorbers are spread evenly and are covered by acoustically transparent fabric.
The Life-End-Dead-End building principle and the ITU-R 1116-1 recommendation determined the design of both control rooms. The asymmetric floor plans were countered by low order reflection control. Although both rooms are shaped for stereo, Christian's studio is additionally equipped with a spherical ambisonics system. The control rooms offer each an analogue signal chain with selected equipment.
In order to create an optimal integration of acoustical modules, these were each calculated and subsequently built by skilled carpenters and musicians. During that process, we became experts in theory and execution of the production of arrays of Helmholtzresonators, plate absorbers as well as geometric and phase grating based diffusors.
The interior design is meant to give a salon like atmosphere, which is distinctive but not distractive to the musician. Although not entirely completed, we celebrate this project on the 29th of April and wish Christian and Sylvain all the best!
The Austrialien Embassy
We constantly look for patterns and paneling that would make appealing acoustical surfaces. Here in Berlin, there is a series of buildings built in the former GDR that preserve the pioneering times of room acoustics. From the fifties on, scientific progress and new building materials resulted in stunning designs that still inspire. Sound aficionados praise the Nalepa Studios as a prominent example. But many more government buildings are equipped with brilliant details. These prudent solutions combined, very often result in atmospheric spaces that are attractive as well as functional (our studios mantra).
Strolling through Berlin Pankow, we came across the former Austrialien Embassy with smart blinds, acoustical paneling and tiles of Hedwig Bollhagen.
The Art of Listening
The Art of Listening is a documentary film about the journey music takes to reach a listener’s ear, from the intent of an instrument maker and composer, to the producers and engineers who capture and preserve an artist’s voice. This journey is narrated by intimate conversations with artists, engineers and producers about the philosophy of their work and the intent behind each musical note they create.
Helmholzresonator
Die Raumakustik des Hörspielstudios Kreuzberg ergänzt laurentiu gerade durch Helmholtzresonatoren. Die akustischen module werden von uns berechnet, gestaltet und anschließend gebaut.
Diffusor_03
Der Diffusor ist Teil der akustischen Gestaltung in den Sprecherkabinen des Hörspielstudios in Charlottenburg
Diffusor
Der Diffusor, an dem Laurentiu fleißig baut und der bald im Hörspielstudio in Charlottenburg installiert wird.
