MOMA, WARSAW: HUGE HALL

MOMA, WARSAW: HUGE HALL

Architect: Christian Kerez, Zurich

Acoustic design: STRAUSS ELEKTROAKUSTIK, Bern

In conjunction with the architect Christian Kerez, we are developing an acoustic design for the Museum of Modern Art Warsaw which is currently at the planning stage: from the underground railway station to the foyers and restaurants, all the way to the exhibition spaces, cinema, theatre and auditorium. An example of the collaboration is the Huge Hall shown here which is intended to be grand in scale not only visually but also acoustically. In these cathedral-like acoustics – the reverberation time is around 10 seconds – the intention is to make footsteps as much of an experience as sound installations or specific plays and music performances relayed by a multi-channel, architecturally integrated sound system.

MAX-PLANCK-INSTITUT FÜR EMPIRISCHE ÄSTHETIK / ARTLAB

MAX-PLANCK-INSTITUT FÜR EMPIRISCHE ÄSTHETIK / ARTLAB

Fachplanung Raumakustik: Strauss Elektroakustik GmbH
Akustische Gestaltung der Architektur: Strauss Elektroakustik GmbH
Ausführungsplanung: MPI Architekten Frankfurt / M.

Tonregie

Raumakustische Referenzabhörbedingungen für optoakustische Produktion und Dokumentation
Lawo mc256 Mischpultsystem mit digitaler Kreuzschiene
Strauss Elektroakustik SE-MF-2 Stereowiedergabesystem (bei Bedarf erweiterbar)
Schnittstellen für die Kontrolle / Überwachung von Messgeräten von Peripherphysiologie und EEG (GPIO, MIDI, rtpMIDI, Ethernet)
Diverses Outboard Equipment (EQing, Zuspieler)

MAX-PLANCK-INSTITUT FÜR EMPIRISCHE ÄSTHETIK / ARTLAB

MAX-PLANCK-INSTITUT FÜR EMPIRISCHE ÄSTHETIK / ARTLAB

Professional Design Acoustics: Strauss Elektroakustik GmbH
Acoustic Design (Architecture): Strauss Elektroakustik GmbH
Architecture and Digital Fabrication: Gramazio & Kohler Architekten Zürich
Construction: MPI Architekten Frankfurt / M.
Roboter-fabricated brick wall: Keller Ziegeleien Pfungen

The technical facilities of the ArtLab allow for synchronous registration of acoustic and optical information, facial expression, gestures, peripheral physiological measures, and brain electrical potentials. It also allows for a convenient computer-aided qualitative and quantitative interrogation of audience and performers. Moreover, sound and video recording and editing facilities allow for the production of optic, acoustic and optoacoustic stimuli of professional quality. Finally, stage lighting and room acoustics may be adapted with respect to the type of performance investigated. [MPI EAE Frankfurt / M.]