Another project of the opera house in Busan

Anisotropia, design for the new Busan Opera House Orproject based on Klavierstück I, piano composition by Orproject director Christoph Klemmt. It is based on twelve tone rows that are repeated and modified by different voices to create complex rhythmic patterns.Anisotropia becomes a physical manifestation of Klavierstück I, a frozen piece of music. Design for the Busan Opera House based on a simple stripe morphology instead of twelve tone rows that create facade, structure and rhythm within itself, its repetition taking place in space instead of time. Layers of stripes form the structure of the façade, and the shifting and changing of these patterns results in the formation of complex architectural rhythms that are used to control the light, presentation, and shading properties of the façade.Klavierstück I uses twelve tone rows that start from the lowest piano key. After its first cycle, the row is repeated, although moved by a semitone.

However, instead of translating each tone by a semitone, only the lowest tone of the series is translated by one octave. How is this row staying the same, but its range has been moved.In the next iteration, this change continues, but the range is now also reduced in its size: the lowest tone is translated by one octave again, and the second lowest tone is omitted, so that only the eleven-tone remaining of the row is played. Instead of twelve tones, the range now only covers eleven tones, and also its length has been reduced accordingly.The range of the twelve tone rows continues to decrease and move up until only one tone is left in each repetition of the original row. Then the range grows again and the still moving upward goes through further modulations: the different voices of the part begin to separate, the size of the various parallel ranges begins to deviate, they move each other until at last they grow side by side again, still advancing and their range fading out with highest piano key.

Piano work No. 1 based on a simple series of twelve tones, but by transitioning and translating its range of influence, complex and continuously developing rhythmic patterns are produced and turned into a floating field of sound.Structure + LightThe proposed façade structure becomes a physical manifestation of Klavierstück I. Instead of twelve tone rows, it is based on a stripe morphology made from curved steel sections that creates facade, structure and rhythm within itself. Scale repetition occurs in space instead of repetition during twelve tone rows. Parallel layers of stripes form the structure of the façade, and the variation of its patterns results in architectural rhythms that are used to control the light, presentation, and shading properties of the façade.StreamThe layout of the walls of the facade was developed according to the custom written modeling of the stream. The algorithm describes a flow that is influenced and modified by a set of baffles that each act according to the magnitude of their attraction and their area of ​​influence.The software-controlled distribution of the elements on the site is used as a set of deflectors that guides the flow of rhythm lines that originate from the sea. On their way to the city, the lines flow around building elements such as the theater and auditoriums, breaking up and being deflected by deflectors.

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Among the secrets of ancient civilizations, a special place is occupied by the legend of Greece about the 12 exploits of Hercules. The story called The Golden Apples of the Hesperides is especially romantic, in which the protagonist adequately copes with the task.

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