Information

The sound and the environment: a project

The sound and the environment: a project


SOUND AND THE ENVIRONMENT: A PROJECT

The primary intent of this publication is to spread a more widespread environmental awareness.

Music understood as "organized sound."

"(E. Varése), according to what so far is the definition that most of all captures its ultimate essence, can contribute to this.

The helichrysum, a typical plant of the Mediterranean scrub, urges immediate reference to the meaning that music had in the context of Greek culture:

music as a science

- think of the theories of the Pythagorean school on the relationships between the main consonances and on the proportionality between the length of the strings and the sound they produce;

music as cosmogony

, as a theory that could explain the birth of the universe, the harmony of the spheres, the relationships and influences between the macrocosm (stars, planets, etc.) and the microcosm (man), and therefore

music as medicine

- if the planets making up the cosmos, with their perfect motion produce sounds, it will be enough to subject the patient to the characteristic sounds of this or that planet to obtain the beneficial effects (1); this conception has survived up to the present day for example in the Apulian tarantism, the ritual cure of the bite of the mythical "Taranta" (2).

But how can music contribute to the development and spread of an environmental awareness?

A hypothesis comes from "The Tuning of the World " by R. Murray Schafer (3) and his subsequent practical manual "A Sound Education - 100 Exercices in listening and Sound-Making"(4). In the introduction of the latter we read in fact: - The subject of this work is sound, and the task we set ourselves is to propose ways in which teachers can help students to listen better -.

A soundscape (term derived from landscape = landscape), that is a sound landscape is the environment that surrounds us

; the world of acoustic events that make up the soundtrack of our existence.

This landscape has changed over time in accordance with the changes of civilizations and cultures: rural, metropolitan, industrial. Nowadays the sounds multiply dramatically producing an increasingly noisy environment. For some years we have been talking about noise pollution and modern civilization is not only more and more deaf due to noise, but also more hoarse; now screaming is not only necessary to be heard, but has become a kind of rhetorical figure for the vitality and dynamism of modern times.

A remedy for this could be the introduction from early childhood of a listening habit aimed at finding a soundscape design.

Yet Schafer: - I believe that improving the soundscape of the world is very simple. We must learn to listen. It is a habit that we seem to have lost. We need to make the ear sensitive to the wonderful world of sound that surrounds us. Having developed a certain ability to listen, we can carry out larger projects, with social implications as well, in order to involve others in our experiences. (...) There are no limits to this project, there is only the continuous effort to beautify the world in all possible ways that people with good ears can imagine -.

Paolo Perna

  1. See M. Schneider, The meaning of music, Rusconi 1981;
  2. See E. De Martino "The land of remorse, The assayer 1961, EST 1996;
  3. Italian translation: R. Murray Schafer, The soundscape, Ricordi Unicopli, Milan, 1985;
  4. Italian translation: R. Murray Schafer, "Sound Education - 100 exercises to listen and produce sound,

  5. Regarding the influence of music on the emotions and behaviors of contemporary daily life, Cfr; AA; VV. . Intense emotions in music, edited by G. Stefani, CLUEB Bologna, 1996;

Lea Bertucci, sound and space

An interview with New York composer and sound designer Lea Bertucci

Lea Bertucci

Among the discs released during these weeks of lockdown, one of the most fascinating is certainly Acoustic Shadows (SA Recordings), vinyl and sample archive of the New York composer and sound designer Lea Bertucci. An artist who in recent years has won deserved international attention both as a saxophonist and as the author of projects that interrogate the relationship between sound and architectural spaces, Lea Bertucci collects in the new disc music for brass and percussion originally recorded for a project site-specific in Germany, a convincing and fascinating proof.

It seemed like an opportunity to get to know this musician better.

Lea Bertucci (photo by Alex Phillipe Cohen)

I'd like to start our conversation from the record that just came out, Acoustic Shadows. The music comes from a series of performances site-specific and from a sound installation inside the cavities of the Deutzer Bridge in Cologne in 2018. How did you work on this project?

«The project began with an inspection a few months before the Festival dei Ponti, which for 25 years presented works by sound artists in this place. I was interested in writing music that would respond both to the extreme acoustic conditions that exist inside the bridge, and to the diegetic sound of the place, such as that of the tram passing over, from one side of the bridge to the other ".

"I was interested in writing music that would respond both to the extreme acoustic conditions that exist inside the bridge, and to the diegetic sound of the place, such as that of the tram passing over, from one side of the bridge to the other".

"This lateral movement of existing sounds inspired my approach to spatialization, both as regards the instruments and the diffusion system. By placing the sound sources in different parts of the bridge, I was able to create music that converses with the bridge and the tram ».

How did you think about the role of instruments in particular?

"The musical gestures of the instruments were designed so that they could take advantage of the extreme resonance of the bridge and play with the psychoacoustic phenomena found inside. By analyzing the space acoustically, I identified the resonant frequency of the bridge, which was taken as a harmonic reference for the brass piece. The idea was to create "sympathetic" resonances between the music and the bridge itself ".

Last November you collaborated with the creators of the Spitfire Audio sample archive and recorded with brass and percussion in a huge industrial cold room. In the presentation video on YouTube you can clearly see the fascinating - and rather freezing conditions in which you and the instrumentalists have worked, but how are these recordings connected with the original project?

"For the sample archive that was created together with the record, I summarized the rules of music, the instrumentation and the type of unconventional techniques of Acoustic Shadows in a sample archive that explores the idea of ​​the "meta-instrument", of the combination between the instrument and the acoustics of the space. The space is considered an extension of the musical instrument. And… yes, the cold room in a London November was a pretty extreme recording environment! "

Acoustic Shadows by Lea Bertucci

In your biography you write that your work describes the relationships between acoustic phenomena and biological resonance. Do you remember when your interest in the reactions of the environment began?

“When I was a child, I remember being very impressed with how my instrument sounded differently depending on the room I was in. I was once playing in a former cement mine in my hometown and I vividly remember the feeling of actually being able to hear myself for the first time. When I then started attending the world of experimental music, when I discovered microtonality and psychoacoustics, I realized the potential of sound as a facilitator of both emotional and bodily reactions and I was interested in finding ways to harness both these reactions. through an experimental approach to harmony ».

On your previous record, Resonant Field, you played the saxophone inside the Marine A Grain Elevator in Silo City, Buffalo. How did you come to this crazy post-industrial space (Sarah Hennies also recorded there recently) and how did you work on the record?

"In the summer of 2017 I worked in an artistic residence in Silo City which allowed me to access this space. My idea was to write a quartet for saxophones, which I did, but while I was working on that piece I started recording myself in improvised solos or, if you like, in duo with the concrete of the silos. Listening to those recordings I found them convincing, so I structured other studio materials around them and ... here's how it was born Resonant Field».

How do you think the record can give back the experience of your work in spaces?

“I don't think he can do that. A normal stereo recording cannot reproduce the experience of a job site-specific, where the spatialization of sound is so fundamental. Stereo recording compresses the third dimension in favor of the fourth and so I went through the editing process of Acoustic Shadows as a record. Both original works lasted over 45 minutes each, which involved a lot of cutting and editing to model a substantially new piece that could stand on its own, completely decontextualized from the space it was designed for. "

The saxophone is your main instrument. What are the sax exploration experiences that inspired you the most?

"The saxophonists I love the most actually sound very different to my approach, I've always loved Eric Dolphy, Albert Ayler, John Coltrane, Pharoah Sanders, Rahsaan Roland Kirk ... but recently I discovered Dickie Landry, who has done some work more minimalists who have a spirit that I feel close to my music ».

Another project that seems really interesting to me is the one with singer Amirtha Kidambi, how did you work on this duo?

“From a guy who was clearing out a cellar I bought this fantastic reel recorder and I realized that with it I could create very interesting effects on a live voice. At the same time Amirtha had suggested that I do some improvisation sessions and I suggested using this setup. We are quite surprised by how a basically simple system manages to bend and twist its voice in such intriguing effects ».

The dense list of concerts planned for your spring 2020 tour is still visible on your site. Were you able to do some? And what did you do during the lockdown?

«I was in Portugal when the situation in Europe got really serious… I was able to play on only 4 of the 22 scheduled dates. Like many other performance artists, I'm afraid I won't be able to perform live for the rest of the year. Now I'm in New York and in these weeks I'm working on the sound of my breath through a wooden flute as a meditation on anxiety states and some shorter and harder pieces for tape and electronics ".

Do you think this situation will inspire you with new ideas precisely in relation to sound and space, even perhaps in a perspective of connection with environmental issues that are increasingly urgent?

“It would be impossible for my work not to reflect the world around me and the way I experience it. Beyond the appearance site-specific, much of the research I carry out on biogeochemical processes and natural phenomena allow my work to consider the body in relation to the surrounding environment, as a moment of reflection on nature and human experience ".

You recently compiled a fantastic playlist for Ransom Note's "Space is the Place" series, ranging from Maja Ratkje to Messiaen, but what are you listening to these weeks?

"I would preferably say music before 1200 or after 1900".

The classic final question: your next projects?


Le Corbusier. The sound of architecture, the architecture of sound - La Cité Radieuse inspires a record and a book

A visual journey through electronic sounds, contaminations and suggestions.

Interview with Stefano Meneghetti by Mirco Salvadori for sherwood.it

Let's start calmly, there are many things to discover and know. So let's start with those who conceived and made this dream possible, let me call it by this name. Who is he, what does he do and above all, what does Stefano Meneghetti dream about?

Difficult to describe, in the end I feel like a failed explorer who uses every means (graphics, videos, images ... music) to search for anomalous characters and places.
I was born in Milan on 25 July 1964.
Now I live in Venice, a magnificent city whose essence I only sensed by living there.
From 8 to 18 I work in Treviso as a compulsive graphic designer.
I was lucky enough to be able to collaborate as a graphic designer and video maker for Gary Numan, Franco Battiato, Byetone, Lorenzo Palmeri and many others, but since childhood my dream has always been to produce a musical project involving my closest friends. Dear.
Sometimes, chasing your dreams can be very tiring, better try to reach them with some friends.
There is an African proverb that says “If you want to go fast, run alone if you want to go far, go with someone”.

“… To talk about the sounds you have to start by making silence. Keep silence. Strange expression. How to do architecture, when it describes the void through forms. We see the shapes and intuit the volume. Outside and Inside. Silence and emptiness. Same thing." (Dario Paini)
I would start with these intense lines written by Dario Paini on the book included in the Cité Radieuse project, to begin exploring the territory in which you are immersed, to begin to understand your path that winds between sound and architecture.

Dario is one of the friends who participated in the project, an atypical engineer who designs environments dedicated to music. He participated in the project with a splendid text that you can read inside the book.
Joni Mitchell once said: "I see music as a fluid architecture"
In the Disco + Libro project we used a hypothetical compass rose with 4 cardinal points: light / sound / environment / man.
Each city, with its buildings, houses, apartments, rooms, has its own particular sound, smell, history. Each place reflects human activities, relationships with the world and, consequently, with ourselves.
The idea that music and architecture have in common has very deep roots. The Greeks transferred the proportions they had already recognized in music to architecture.
There are certainly many points of contact between music and architecture. In music we speak of harmony, balance, proportion, rhythm, all terms that we also recognize in the architectural field. Le Corbusier himself compared the invention of the "harmonic" measurement system, the Modulor, based on human dimensions, to musical concepts.

An album, a cd and a book. Sound, writing, architectural thought, design, images. Let's talk about.

The album "Cité Radieuse" is a transversal project, difficult to fit into a genre. If I could, I would classify it as visual music.
There are various kinds of influences: from Battiato, with his album “Campi magnetic”, to research that becomes the style of Teho Teardo. From Peter Nooten & Michael Brook up to the experimental and intuitive sensitivity of Holger Czukay. And then Alberto Giacometti, Lorenzo Mattotti, Alessandro Gottardo, Jiro Taniguchi, Chris Ware and many, many others… Many influences, because different experiences and paths inevitably lead us to be characters in constant change.
Architecture like music is an experience pervaded by a strong collective energy. According to Brian Eno “The quality of the works produced at the same time and place is due more to the friction between the people present on the scene than to the work of a single artist”.
Cité Radieuse is a choral work in which I involved some friends, "les amis" ..
Having worked alongside the likes of Giuseppe Azzarelli and Massimiliano Donninelli, both composers and conductors, talented musicians such as Yannick da Re (percussion and Kargiraa singing), Cristian Inzerillo (electric bass) and an eclectic artistic producer and competent as Alessandro Rorato (Creative and Sound assembler) made the suggestions and images expand beyond my personal “imaginary”, creating kaleidoscopic scenarios.
In particular, Maestro Azzarelli's piano is an example of structured notes to recreate the harmonious relationship between space and the human being.

I come to the central point which is also the title of the entire project: Cité Radieuse, the famous housing unit designed by Le Corbusier and built in Marseille between the late 1940s and early 1950s. What are the reasons that led you along the almost 60,000 square meters and 18 floors of this famous building.

For some it is a colored "concrete cube". For others, “the madman's house”. Le Corbusier's Cité radieuse in Marseille is an entire city in one building.
The opportunity came when Véronique, my wife and travel companion, made me discover the Maison "du fada" (literally, "the madman's house"), or rather the architectural project by Charles-Edouard Jeanneret-Gris in Le Corbusier art.
A bit like in the famous film by Charles and Ray Eames, "Powers of Ten", which reached the atom from the confines of the universe, entering people's bodies. In our journey we started from the great architectural project to arrive at the single individual. We moved discreetly within the Habitation Unit, observing the individual, family and collective lives that still take place in the radiant city.
The inhabitants of the same building live a few centimeters away, separated by a simple partition, and share the same spaces repeated from floor to floor, they do the same gestures at the same time, turn on the tap, turn on the light, set the table, a few dozen simultaneous existences that are repeated from one floor to another, from one building to another, from one street to another.

The title of the chapter written by Massimiliano Donninelli particularly struck me and allows me to use it - hoping the author doesn't feel bad about it - for the next question regarding the musical component of the project: Musica in Libertà. What is the sound expressed in the record, what is the message and the contents it intends to express.

I prefer to think of it as a visual journey.
Le Corbusier once said: “I am a young man of 71 years old. I am a visual man, a man working with eyes and hands and limited by plastic manifestations. My research is like my feeling, directed to what is the principal value in the life, the poetry. Poetry is in the heart of man and is the capacity to go into the richness of nature. "
I am extremely pleased to also give you Maestro Donninelli's answer, this is his thought.
"The sound expressed in the compositions represents, using an unusual expression, a path of stylistic" catharsis ", because many musical factors and not only have become part of the process of composition / transformation of a sound material that reflects musical cultures and paths very different artistic ones. The step from "unusual" to "original" is short and I think the result is characterized by this new style that has developed during the work itself. I feel the message and the contents rather as a natural consequence of the spirit that moved the project. Architecture, as a space of resonance of modern life, as Le Corbusier brilliantly expressed it, has become a space of sound resonance, the very relationship between the different approaches to composition has done the rest, has made the space, the creative one, vibrate. of the minds and sensibilities involved. "

Yes, I believe that the title of Massimiliano Donninelli's article can rightly be an inspiration for your question as well as highlighting the main feature of the project, "freedom" intended rather in the sense of freeing the interior spaces from everything there is. belongs to look beyond our experiences, freely!


Given the scope of the project I had prepared myself for a listening linked to the contemporaneity of sound (an example: the Andolangen concert by Gene Coleman, a combination of video and music dedicated to the German Langen Foundation created by Tadao Ando, ​​so to speak) instead I find myself immersed in very pleasant sounds of provenance, I would say 'modern' rather than contemporary. Why is this choice absolutely contrary to an unwritten code that wants the contemporary or classical school as a sound expression of architectural expression.

The correspondence between architecture and music has been increasingly integrated, as architecture must find ways to communicate by trying to involve all the sensory areas of the individual. Music, therefore, by stimulating the auditory faculties, can involve the individual and introduce him to ever new dimensions, as music is rhythm, it is time.
I am convinced that anyone who wants to express themselves in a creative activity must begin to grasp the essence of other forms of art without stopping solely at their own. Let architects try to reflect like musicians and let musicians do the same with architecture: the consequence could be on the one hand the design of time, on the other the sound of space, in the sense of musicality and not of acoustics.

Maestro Giuseppe Azzarelli adds:
"Cité Radieuse is not a self-referential work. The idea was to enhance this architecture as a generator of relationships, in which matter and form develop from the need to be "for man". This idea, deeply linked to the thought of Le Corbusier, is at the origin of the poetics of our project, in which architecture is not understood only as a "structure", but above all as a living space in which people live, move, play actions, they have feelings. This music, also thanks to the compositional dynamics that have defined it, tries to give life to sounds that are an expression of this living, more deeply understood as being in relationship with a space and with a time that lie beyond the parameters of 'architecture. In this dimension that I would define "symbolic", we can realize that art and music may have little to do with the concepts of pleasant or unpleasant, but have more the function of calling us to be in a certain place, at a certain time , stripping modern and contemporary words of meaning ".

Beyond the disc, a collection of writings. Let's talk about.

The project is basically composed of two entities: the record and the book.
Cité Radieuse is a meeting of different worlds and different knowledge. In addition to the various musicians involved, graphic designers, photographers, writers, architects, designers, sociologists also contributed to this project who freely explored the possible interconnections between the themes of the project, such as light, colors, sound, environments and human relations.

I'd end up with the icon that represents your project, Magnus Klackenstam's beautiful photo with a strong dreamlike impact. Is it an invitation not to lose the will to dream and always and in any case throw yourself into the enveloping emptiness of the risky artistic flight?

Magnus is an exceptionally talented Swedish photographer, I am honored that he agreed to give us one of his beautiful photographs.
What is all this if not a dream?
Space-time continually reminds us of the uncertain lability of what we see.
I think it is essential not to lose the ability to be amazed, to marvel at life, at the things that do not allow themselves to be grasped and escape away.

Photo credits:
Piero Giacon // Photographer
merci to Piero Giacon our director of photography

Anna Dziedzic // Interior Designer Studio MUI
merci Anna de me laisser to use your beautiful photos

Magnus Klackenstam // Photographer
merci Magnus pour les belles photos.

The team:
Stefano Meneghetti - Production + Composer and Electronics
Giuseppe Azzarelli - Composer and Piano and Keyboard
Alessandro Rorato - Creative and Sound assembler
Massimiliano Donninelli - Composer and Electronics
Yannick da Re - Percussion
Cristian Inzerillo - Electric bass


The sound of architecture, the architecture of sound

Stefano Meneghetti and the Cité Radieuse

Architecture is music in space, a kind of frozen music.
(Friedrich Wilhelm Joseph von Schelling)

Let's start calmly, there are many things to discover and know. So let's start with those who conceived and made this dream possible, let me call it by this name. Who is he, what does he do and above all, what does Stefano Meneghetti dream about?

Difficult to describe, in the end I feel like a failed explorer who uses every means (graphics, videos, images ... music) to search for anomalous characters and places.
I was born in Milan on 25 July 1964.
Now I live in Venice, a magnificent city whose essence I only sensed by living there.
From 8 to 18 I work in Treviso as a compulsive graphic designer.
I was lucky enough to be able to collaborate as a graphic designer and video maker for Gary Numan, Franco Battiato, Byetone, Lorenzo Palmeri and many others, but since childhood my dream has always been to produce a musical project involving my closest friends. Dear.
Sometimes, chasing your dreams can be very tiring, better try to reach them with some friends.
There is an African proverb that says "if you want to go fast, run alone if you want to go far, go with someone".

". To talk about sounds you have to start by making silence. Silence. Strange expression. How to do architecture, when architecture describes emptiness through forms. We see forms and intuit volume. Outside and inside. Silence and emptiness. Same thing." (Dario Paini)
I would start with these intense lines written by Dario Paini on the book included in the Cité Radieuse project, to begin exploring the territory in which you are immersed, to begin to understand your path that winds between sound and architecture.

Dario is one of the friends who participated in the project, an atypical engineer who designs environments dedicated to music. He participated in the project with a splendid text that you can read inside the book.
Joni Mitchell once said: "I see music as fluid architecture"
In the Disco + Libro project we used a hypothetical compass rose with 4 cardinal points: light / sound / environment / man.
Each city, with its buildings, houses, apartments, rooms, has its own particular sound, smell, history. Each place reflects human activities, relationships with the world and, consequently, with ourselves.
The idea that music and architecture have in common has very deep roots. The Greeks transferred the proportions they had already recognized in music to architecture.
There are certainly many points of contact between music and architecture. In music we speak of harmony, balance, proportion, rhythm, all terms that we also recognize in the architectural field. Le Corbusier himself compared the invention of the "harmonic" measurement system, the Modulor, based on human dimensions, to musical concepts.

An album, a cd and a book. Sound, writing, architectural thought, design, images. Let's talk about.

The album "Cité Radieuse" is a transversal project, difficult to fit into a genre. If I could, I would classify it as visual music.
There are various kinds of influences: from Battiato, with his album “Campi magnetic”, to research that becomes the style of Teho Teardo. From Peter Nooten & Michael Brook up to the experimental and intuitive sensitivity of Holger Czukay. And then Alberto Giacometti, Lorenzo Mattotti, Alessandro Gottardo, Jiro Taniguchi, Chris Ware and many, many others… Many influences, because different experiences and paths inevitably lead us to be characters in constant change.
Architecture like music is an experience pervaded by a strong collective energy. According to Brian Eno “The quality of the works produced at the same time and place is due more to the friction between the people present on the scene than to the work of a single artist”.
Cité Radieuse is a choral work in which I involved some friends, "les amis" ..
Having worked alongside the likes of Giuseppe Azzarelli and Massimiliano Donninelli, both composers and conductors, talented musicians such as Yannick da Re (percussion and Kargiraa singing), Cristian Inzerillo (electric bass) and an eclectic artistic producer and competent as Alessandro Rorato (Creative and Sound assembler) made the suggestions and images expand beyond my personal “imaginary”, creating kaleidoscopic scenarios.
In particular, Maestro Azzarelli's piano is an example of structured notes to recreate the harmonious relationship between space and the human being.

I come to the central point which is also the title of the entire project: Cité Radieuse, the famous housing unit designed by Le Corbusier and built in Marseille between the late 1940s and early 1950s. What are the reasons that led you along the almost 60,000 square meters and 18 floors of this famous building.

For some it is a colored "concrete cube". For others, “the madman's house”. Le Corbusier's Cité radieuse in Marseille is an entire city in one building.
The opportunity came when Véronique, my wife and travel companion, made me discover the Maison "du fada" (literally, "the madman's house"), or rather the architectural project by Charles-Edouard Jeanneret-Gris in Le Corbusier art.
A bit like in the famous film by Charles and Ray Eames, "Powers of Ten", which reached the atom from the confines of the universe, entering people's bodies. In our journey we started from the great architectural project to arrive at the single individual. We moved discreetly within the Unité d'Habitation, observing the individual, family and collective lives that still take place in the radiant city.
The inhabitants of the same building live a few centimeters away, separated by a simple partition, and share the same spaces repeated from floor to floor, they do the same gestures at the same time, turn on the tap, turn on the light, set the table, a few dozen simultaneous existences that are repeated from one floor to another, from one building to another, from one street to another.

The title of the chapter written by Massimiliano Donninelli particularly struck me and allows me to use it - hoping the author doesn't feel bad about it - for the next question concerning the musical component of the project: Musica in Libertà. What is the sound expressed in the record, what is the message and the contents it intends to express.

I prefer to think of it as a visual journey.
Le Corbusier once said: "I am a young man of 71 years old. I am a visual man, a man working with eyes and hands and limited by plastic manifestations. My research is like my feeling, directed to what is the principal value in the life, the poetry. Poetry is in the heart of man and is the capacity to go into the richness of nature. "
I have the great pleasure of giving you also Maestro Donninelli's answer, this is his thought.
"The sound expressed in the compositions represents, using an unusual expression, a path of stylistic" catharsis ", because many musical factors and not only have become part of the process of composition / transformation of a sound material that reflects musical cultures and paths very different artistic ones. The step from "unusual" to "original" is short and I think the result is characterized by this new style that has developed during the work itself. I feel the message and the contents rather as a natural consequence of the spirit that moved the project. Architecture, as a space of resonance of modern life, as Le Corbusier brilliantly expressed it, has become a space of sound resonance, the very relationship between the different approaches to composition has done the rest, has set the space, the creative one, in vibration. of the minds and sensibilities involved. "

Yes, I believe that the title of Massimiliano Donninelli's article can rightly be an inspiration for your question as well as to highlight the main feature of the project, "freedom" intended rather in the sense of freeing the interior spaces from everything there is. belongs to look beyond our experiences, freely!

Given the scope of the project I had prepared myself for a listening linked to the contemporaneity of sound (an example: the Andolangen concert by Gene Coleman, a combination of video and music dedicated to the German Langen Foundation created by Tadao Ando, ​​so to speak) instead I find myself immersed in very pleasant sounds of provenance, I would say 'modern' rather than contemporary. Why is this choice absolutely contrary to an unwritten code that wants the contemporary or classical school as sound expressions of architectural expression.

The correspondence between architecture and music has been increasingly integrated, as architecture must find ways to communicate by trying to involve all the sensory areas of the individual. Music, therefore, by stimulating the auditory faculties, can involve the individual and introduce him to ever new dimensions, as music is rhythm, it is time.
I am convinced that anyone who wants to express themselves in a creative activity must begin to grasp the essence of other forms of art without stopping only at their own. Let architects try to reflect like musicians and let the musicians do the same with architecture: the consequence could be on the one hand the design of time, on the other the sound of space, in the sense of musicality and not of acoustics.

Maestro Giuseppe Azzarelli adds:
"Cité Radieuse is not a self-referential work. The idea was to enhance this architecture as a generator of relationships, in which matter and form develop from the need to be "for man". This idea, deeply linked to the thought of Le Corbusier, is at the origin of the poetics of our project, in which architecture is not understood only as a "structure", but above all as a living space in which people live, move, play actions, they have feelings. This music, also thanks to the compositional dynamics that have defined it, tries to give life to sounds that are an expression of this living, more deeply understood as being in relationship with a space and with a time that lie beyond the parameters of 'architecture. In this dimension that I would define "symbolic", we can realize that art and music may have little to do with the concepts of pleasant or unpleasant, but have more the function of calling us to be in a certain place, at a certain time , stripping modern and contemporary words of meaning ".

Beyond the disc, a collection of writings. Let's talk about.

The project is basically composed of two entities: the record and the book.
Cité Radieuse is a meeting of different worlds and different knowledge. In addition to the various musicians involved, graphic designers, photographers, writers, architects, designers, sociologists also contributed to this project who freely explored the possible interconnections between the themes of the project, such as light, colors, sound, environments and human relations.

I would end up with the icon that represents your project, the splendid photo of Magnus Klackenstam with a strong dreamlike impact. Is it an invitation not to lose the will to dream and always and in any case throw yourself into the enveloping emptiness of the risky artistic flight?

Magnus is an exceptionally talented Swedish photographer, I am honored that he agreed to give us one of his beautiful photographs.
What is all this if not a dream?
Space-time continually reminds us of the uncertain lability of what we see.
I think it is essential not to lose the ability to be amazed, to marvel at life, at the things that do not allow themselves to be grasped and escape away.


Custom Audio Project Guide

Each building needs a unique musical approach

This mini custom audio project guide could improve your quality of life every day for many years! Every building, every house, every company, every commercial or professional activity, whether it's a medical clinic, a kitchen, a sports center, a shop or a school, sooner or later they will all have musical or sound reinforcement needs. These needs are as important as factors such as lighting because they allow, like any other system, to make the best use of the rooms. This guide offers an overview and some advice on how to approach these audio projects. Even if you do not take care of it yourself, it is always interesting, and well, to understand a little. At least you will be able to have your say and confront the designers, guiding their choices in a more conscious and targeted way. Knowledge is power, as always.

An image without sound? No thanks, the sound NEEDS!

Often a company without music is a bit sad. A kitchen without sound seems uninviting, and an office with the latest lighting design but without speakers remains ... unfinished. Everybody knows. Conviviality also passes through music.

In fact, however, individuals and companies usually think about sound management, music and P.A. systems. (Public Address, we will see it later) in the last phase of a project. The available budgets have already been spent on other things such as ventilation, lighting or automation. This is quite frustrating but can create an interesting challenge.

As a user, it is your right and duty (towards yourself!) To equip yourself with a decent audio system: the quality of life is at stake!

As an installer, you can instead tell your customers about this big and obvious lack and help them create something that will make them happy for years. This small guide to the custom audio project tells what can be done and how to face some choices when thinking about bringing music to the environments we live in. More details will always be seen by specialists but as always, a little information never hurts!

Where to start an audio project?

The unknown always frightens you, but don't let that frighten you! It is always nice to learn how to manage and create new things. Connecting a speaker to an amplifier is child's play. But choosing the right devices, the right cables and the right sizing is another story. And that's exactly where we get to with our experience. You can call our experts to get the best recommendations. We will help you with the project you are thinking about and with choosing the correct products and connections. With the different types of wall speakers, specific cables for audio projects ed professional electronics that we provide, it is possible to sonorize outdoor places, schools, meeting rooms, warehouses, shops, etc.

One project at a time!

To give you the best help, you need some basic information about the application you are thinking about. Size, number of rooms, type of furnishings… Contact us for our recommendations.

What do we mean by an audio or sound project?

An audio or installation project includes everything needed to ensure that any building is equipped with a communication system (called P.A.) or music diffusion system. We talk about a bar such as a sports center, a clinic, a shop or a restaurant.
Leaving aside domestic projects for now, we would like to define a professional audio project such as one involving more than four different zones. There is no standard model in these cases: the suit is always tailored, not to waste even an inch of "fabric". These professional projects are called PA - public address - or projects 100V. Different laws apply here compared to classic home systems.

Professional audio: divide and conquer? Divide and… manage!

A good guide must give practical advice. This motto is a good summary of how a professional 100V or “PA” audio project should be handled. The building must be divided into zones, the zones must be numbered and the surface must be calculated. Then the number of speakers that are needed to cover each area must be determined and which and how many sources you want to listen to must be verified (CD, Radio, Streaming, NAS, microphones, TV, Decoder, USB key or SD card, ...).
Therefore, once the number and indicative arrangement of the speakers have been obtained, the right amplification must be matched to the system, which will give power to the speakers. each of the zones with the right amplifier (s). In this case, if the project is small enough, an integrated amplifier will suffice, perhaps even with integrated sources, while if it is larger, various sources will be required (according to one's tastes and habits), usually a preamplifier that collects the various inputs and directs them to different final amplifiers that cover the power needs of different environments. Once you understand the project well, choose the best among the many professional audio electronics proposals will be a breeze.

So first divide and then manage the zones. In the end? Connect everything.

Why a 100V or PA approach?

A professional project differs from a home one in at least two factors. The quantity and average size of the areas on the one hand, the need for flexibility on the other. 100V projects have the FLEXIBILITY factor on their side. With a PA or 100V system, you create one 'Open platform' to connect several 100V speakers using a single bus or cable. It is therefore possible, at any time, to integrate microphones or intercoms or connect the alarm signals on the other cable. You just make sure you provide each zone with enough power. With this type of platform, installation is quick and signals can be managed even over long distances - which is not possible with traditional systems.

Here is a summary of the two methods of connecting speakers

First connection method

The most classic connection is low impedance (4 or 8 Ohm). It is used for speakers for living room, bathroom, lounge, terrace ... What unites these speakers - even very different from each other - is the impedance: 4 or 8 Ohm. You connect them to the amplifier using a classic copper cable from 1.5 to 4 mm section. Usually 2 or 4 speakers are paired with an amplifier, rarely more. In this case, multi-zone amplifiers usually have two speakers per zone, for a maximum of 4 zones.

Second method of connection

With the connection between speakers and amplifiers at 100V / PA you can connect several speakers in parallel over very long distances. Attention, this type of setup involves specific products and is not simply a "stylistic" choice. 100V amplifiers and speakers can also be used to create “standard” or “low impedance” solutions while the products used in the latter types of projects cannot be used in 100V systems. With PA projects, you can create different circuits or zones and cover very long distances from the amplifier. Do you have a hotel, a large restaurant? A large shop? You need a 100V system.

The correct power and type of speakers

Each speaker has a very specific power (expressed in wattage and dB) and some peculiar characteristics. The dBs indicate how powerful the speaker is, how loud it can sound without distorting or breaking. The power required depends on the environment, environmental noise, type of use, floor coverings, etc. Some rules of thumb will give you an idea of ​​the total number of speakers required and how powerful they must be.

  • If your project is large and therefore at 100V, know that the ideal distance between the 100V speakers is no more than 6-8 linear meters (depending on the required sound pressure, the height of the ceiling, the type of floor, the size of the speaker itself, etc). Large speakers, with about 200 mm woofers, can stay at these distances while the smaller ones, for example with 100, 130, 160 mm woofers will be placed closer together.
  • If you want to make a few "holes" in the walls, it is better to choose larger speakers with greater angular dispersion.
  • Some speakers may have a specific setting thanks to a manual setting (Ex Tweeter adjustable +/- 3dB), perfect if you have very "absorbent" environments, with many curtains, carpets, wood ...

Note on 100V systems

The power in 100V systems is calculated in a different ratio from that typical in traditional domestic use (on 8 Ohms). Typically the speaker power at 100V is rated at about 1/6 compared to an 8 Ohm speaker. For example 10W in P.A. “Equates” to 60W in residential projects. An easy rule to understand how many Watts of power we need!

Choose the right speaker

In Hifight you will find a guide for every need and speakers for every application. You will find many, in-wall and therefore to be recessed into the wall, on-wall and then to be hung on the wall, cascading from the ceiling, for outdoors ... Few large and powerful speakers can do the work of many and small, with of a better timbre and a better musicality. Think of the meow of a hundred cats or the roar of the lion. Cats together will also be able to overcome the volume of the roar but will never reach the low notes of the lion. In the same way, small loudspeakers of little power playing together will see their power added together but, both individually and collectively, they will never be able to emit some notes (ex. The low notes). This does not mean that small speakers are not good, but only that the required purpose must be well evaluated. For example, many small speakers will be able to cover a large area better, or with more uniformity.

The power of amplification

Without amplification there would be no music reproduction. A 100V amplifier allows you to connect multiple speakers and divide them into one or more zones. We offer a wide range of amplifiers with 100V mixer, pre amplifiers and power amps, along with a range of accessories such as microphones, adapters, and cables. In practice, you will find a complete solution for almost any project.

The Golden Rule

The total power of all the speakers together must form the basis for choosing the power of the amplifier. It is good practice to leave an additional margin of at least 10%. If you are working with different zones (at 100V) then you will need to look at the references which indicate the power per zone. For example the model Artsound PR-4240 it has a power of 4 x 240 Watts and therefore can serve four zones, each with a total of 240W.

Four basic electronics for your audio system

Integrated amplifier, all ready and all easy

Power amp, brute force that needs a preamp

Preamp, perfect for driving power amplifiers

Matrix, to address each signal

Hifight wouldn't be Hifight if it didn't give you some useful tips for your projects! Here are a few.

For one dirty more decibels

An audio project guide cannot fail to mention decibels. The "decibel" or "dB" is one of the most critical factors in determining the choice of the correct speaker. Think of cars, there are not only the horsepower (wattage in the case of speakers), but also the actual thrust (i.e. the torque or NM). In the world of music, there are decibels. The decibel (or dB) rating indicates how much a speaker can develop a particular sound pressure. This is necessary to avoid masking effects. A masking effect occurs when the perception of music is reduced by other ambient sounds. If you have a low-power speaker (which therefore “pushes” the music a little) and you are in a noisy environment you will not be able to hear well because the background noise masks or overlaps the music. The higher the background noise of the environment, the more the speakers and the amplification will have to perform in order to be able to overcome the volume level of the environment

  • As a general rule, the level of the sound you want to hear must be at least 6 dB higher with respect to ambient noise.
  • In order to be able to listen quietly, a difference of at least 10 dB for
    background music.
  • However, if you want to integrate voice messages as well, think of a difference of over 20 dB.

Here's how to make the right choice: taking into account the ambient noise! Below is an overview of what you can broadly consider.

Area | typical ambient dB | dB recommended

theater | typical dB 40-45 | Suggested dB 60-65

Concert halli | typical dB 46-50 | Suggested dB 65-70

Reception | typical dB 50-60 | Suggested dB 60-70

WC | typical dB 55-60 | Suggested dB 65

Conference room | Typical dB 50-55 | Suggested dB 70-75

Restaurant | typical dB 50-60 | Suggested dB 60-70

Bar / cafeteria | typical dB 60-65 | Suggested dB 65-75

Great shop | typical dB 55-65 | Suggested dB 65-75

Hypermarket | typical dB 65-70 | Suggested dB 75-80

Museum | Typical dB 50-55 | Suggested dB 60-65

Office | typical dB 55-60 | Suggested dB 65-70

Area | typical ambient dB | dB recommended

Airport | typical dB | 65-70 | Suggested dB 80-85

Railway station | typical dB 80 | Suggested dB 90-95

Sports Hall | typical dB 55-65 | Suggested dB 70-75

Pool | Typical dB 60-70 | Suggested dB 75-80

Basketball or Volleyball Stadium | Typical dB 75-80 | Suggested dB 90-95

Stage (after a goal) | typical dB | Suggested dB 90 110

Garage | typical dB 65-75 | Suggested dB 75-90

Warehouse | typical dB 65-70 | Suggested dB 70-80

Light industry | typical dB 65-70 | Suggested dB 75-80

Heavy industry | typical dB 70-80 | Suggested dB 85-95

Church / Mosque | Typical dB 50-55 | Suggested dB 60-65


Sound insulation and absorption: be careful not to confuse them

There are many factors that determine the acoustic comfort of a confined space. Among these, attention should be paid to sound insulation and sound absorption, as main characterizing elements.

The sound is a wave which, as such, when it encounters a surface, breaks down into its factors, transmitted, absorbed and reflected.

The sound insulation (or sound insulation) it is necessary to eliminate the transmission of sounds between inside and outside, or the propagation of these between environments the sound absorptioninstead, it is useful to control the reverberation generated by surface reflections constituting the physical space.

Whether this is used as a restaurant, classroom, canteen, office, auditorium or similar, the common denominator concerns thespeech intelligibility and the way the sound message reaches our ears.

Therefore sound insulation and absorption turn out to be the basis from which to start for a good design. Factors not to be confused with one another: if, with good sound insulation between rooms, the sound wave is prevented from being transmitted through neighboring surfaces, in doing so all the sound energy emitted remains inside the closed space, generating multiple reflections , to be dampened through the use of sound-absorbing materials and products.

The regulatory aspect is clearer in terms of sound insulation, more labile as regards the control of reverberation time.

Indeed, the norm UNI EN ISO 16283/2014 defines how to measure sound insulation on site, through i sound pressure values. Further standards provide constructive indications, performance evaluations and control limit values ​​on which to compare on-site situations with project forecasts.

Different materials can be used. Acoustic mats to dampen noises generated by footsteps, insulating counter walls to increase the absence of transmission between environments or soundproofing materials to be inserted inside the masonry. These are all interventions that should be studied in the design phase, as correct installation is essential to obtain optimal results.

Sound, like water, "creeps" and propagates wherever it finds a free space or interstice, therefore study and resolution of so-called acoustic bridges it can only be obtained with a correct installation of duly performing materials. Turn-ups, anchors, air pockets and so on cannot be improvised or managed once the work is completed, but they are necessary during the construction of the space.

The post-operam intervention can limit the propagation of sound energy only partially, with all the architectural and physical limitations of an already completed space.

These indications are valid both for residential environments (think of the continuous discussions between neighbors due to the excessive noise of a TV or the movement of furniture and chairs) and for common commercial environments (disturbance between offices, too loud music in clubs and discos, etc.) .

The control of reflections, on the contrary, it happens through the calculation of the reverberation time, T60, defined as the time necessary for an impulsive noise, interrupted abruptly, to decay by 60 dB. In a nutshell we are talking about the sound tail generated when a source is turned off, how long it takes to stop its propagation in the room.

All of us at least once in our life have found ourselves living disastrous "acoustic experiences", assuming that nothing could be done to improve the condition. Think of that restaurant where excellent food has failed due to difficulties in communicating with the person sitting in front of us. Or that lesson in the classroom where the surrounding buzz overwhelmed the teacher's words, who in turn tried to communicate better by raising his voice, but where the actual perception was one word out of three. Or, again, those spaces that force you to a continuous and exhausting attention.

Bad acoustics are the direct consequence of stress, fatigue, mental fatigue, headaches, etc. until it leads to a real occupational disease.

The acoustic design of a comfortable environment aims to achieve optimal environmental conditions for verbal communication whose essential requirements are the absence of disturbance and good reception. The high background noise and excessive sound reverberation, in a closed environment, make conversation difficult, reducing the intelligibility of speech and having, as a consequence, a negative influence on communication.

The standard UNI EN ISO 3382-2 / 2008 indicates us how to measure this condition in ordinary environments, while only the schools can take advantage of specific legislation for the type of environment such as UNI 11532-2014 or the DM 18/12/75, with related optimal control parameters.

TO FIND OUT READ THE ARTICLE

Acoustics in schools: the criteria for correct design

The acoustic design of school buildings has three fundamental objectives: to isolate the building from noises coming from the outside, to limit the noise pollution generated by the school itself towards the outside and to guarantee understanding and intelligibility during the activities carried out inside. of the school.

In order to ensure these three aspects, it is necessary to start from a correct choice of the site on which to build the school, and then adequately design the sound insulation and sound absorption of the different rooms making up the building.

Given the variety of functions performed within a school building, it is very important to think for each environment, to better respond to specific needs. In 2017, the Italian Association of Acoustics - AIA drew up the "Guidelines for a correct acoustic design of school environments", in which it is possible to deepen all the issues discussed below. Read the deepening

The optimal value of the reverberation time represents the right compromise between achieving a sound level sufficient for effortless hearing, in all parts of the environment, and reducing the harmful effects caused by excessive reverberation. The determination of this value was obtained following numerous subjective assessments on the quality of the hearing in environments with different intended uses.

In the literature there are diagrams that allow the determination of the optimal reverberation time as a function of the volume of the environment and its intended use based on the frequency.

In general, for environments intended for listening to words, where direct sound is privileged over reverberation, short reverberation time values ​​are indicated. Materials and products to be used, to check these values, can be sound-absorbing panels, curtains, plasters, stringing, etc., but also in this case the preliminary design would be the most suitable, so as to integrate these materials with the surrounding environment without having to perform interventions that are not completely decisive, working on a “remaining” useful surface, without the possibility of choosing.

All our senses are equally important and this period has really made us understand how much sound and noises are crucial for our perceptions.

We will return to live the everyday life of the common areas, so let's do our best to make them comfortable from all points of view.

We will return to make our voices and laughter heard in a clear and effective way.


Le Corbusier. The sound of architecture, the architecture of sound - La Cité Radieuse inspires a record and a book

A visual journey through electronic sounds, contaminations and suggestions.

Interview with Stefano Meneghetti by Mirco Salvadori for sherwood.it

Let's start calmly, there are many things to discover and know. So let's start with those who conceived and made this dream possible, let me call it by this name. Who is he, what does he do and above all, what does Stefano Meneghetti dream about?

Difficult to describe, in the end I feel like a failed explorer who uses every means (graphics, videos, images ... music) to search for anomalous characters and places.
I was born in Milan on 25 July 1964.
Now I live in Venice, a magnificent city whose essence I only sensed by living there.
From 8 to 18 I work in Treviso as a compulsive graphic designer.
I was lucky enough to be able to collaborate as a graphic designer and video maker for Gary Numan, Franco Battiato, Byetone, Lorenzo Palmeri and many others, but since childhood my dream has always been to produce a musical project involving my closest friends. Dear.
Sometimes, chasing your dreams can be very tiring, better try to reach them with some friends.
There is an African proverb that says “If you want to go fast, run alone if you want to go far, go with someone”.

“… To talk about the sounds you have to start by making silence. Keep silence. Strange expression. How to do architecture, when it describes the void through forms. We see the shapes and intuit the volume. Outside and Inside. Silence and emptiness. Same thing." (Dario Paini)
I would start with these intense lines written by Dario Paini on the book included in the Cité Radieuse project, to begin exploring the territory in which you are immersed, to begin to understand your path that winds between sound and architecture.

Dario is one of the friends who participated in the project, an atypical engineer who designs environments dedicated to music. He participated in the project with a splendid text that you can read inside the book.
Joni Mitchell once said: "I see music as a fluid architecture"
In the Disco + Libro project we used a hypothetical compass rose with 4 cardinal points: light / sound / environment / man.
Each city, with its buildings, houses, apartments, rooms, has its own particular sound, smell, history. Each place reflects human activities, relationships with the world and, consequently, with ourselves.
The idea that music and architecture have in common has very deep roots. The Greeks transferred to architecture the proportions that they had already recognized in music.
There are certainly many points of contact between music and architecture. In music we speak of harmony, balance, proportion, rhythm, all terms that we also recognize in the architectural field. Le Corbusier himself compared the invention of the "harmonic" measurement system, the Modulor, based on human dimensions, to musical concepts.

An album, a cd and a book. Sound, writing, architectural thought, design, images. Let's talk about.

The album "Cité Radieuse" is a transversal project, difficult to fit into a genre. If I could, I would classify it as visual music.
There are various kinds of influences: from Battiato, with his album “Campi magnetic”, to research that becomes the style of Teho Teardo. From Peter Nooten & Michael Brook up to the experimental and intuitive sensitivity of Holger Czukay. And then Alberto Giacometti, Lorenzo Mattotti, Alessandro Gottardo, Jiro Taniguchi, Chris Ware and many, many others… Many influences, because different experiences and paths inevitably lead us to be characters in constant change.
Architecture like music is an experience pervaded by a strong collective energy. According to Brian Eno “The quality of the works produced at the same time and place is due more to the friction between the people present on the scene than to the work of a single artist”.
Cité Radieuse is a choral work in which I involved some friends, "les amis" ..
Having worked alongside the likes of Giuseppe Azzarelli and Massimiliano Donninelli, both composers and conductors, talented musicians such as Yannick da Re (percussion and Kargiraa singing), Cristian Inzerillo (electric bass) and an eclectic artistic producer and competent as Alessandro Rorato (Creative and Sound assembler) made the suggestions and images expand beyond my personal “imaginary”, creating kaleidoscopic scenarios.
In particular, Maestro Azzarelli's piano is an example of notes structured to recreate the harmonious relationship between space and the human being.

I come to the central point which is also the title of the entire project: Cité Radieuse, the famous housing unit designed by Le Corbusier and built in Marseille between the late 1940s and early 1950s. What are the reasons that led you along the almost 60,000 square meters and 18 floors of this famous building.

For some it is a colored "concrete cube". For others, “the madman's house”. Le Corbusier's Cité radieuse in Marseille is an entire city in one building.
The opportunity came when Véronique, my wife and travel companion, made me discover the Maison "du fada" (literally, "the madman's house"), or rather the architectural project by Charles-Edouard Jeanneret-Gris in Le Corbusier art.
A bit like in the famous film by Charles and Ray Eames, "Powers of Ten", which reached the atom from the confines of the universe, entering people's bodies. In our journey we started from the great architectural project to arrive at the single individual. We moved discreetly within the Habitation Unit, observing the individual, family and collective lives that still take place in the radiant city.
The inhabitants of the same building live a few centimeters away, separated by a simple partition, and share the same spaces repeated from floor to floor, they do the same gestures at the same time, turn on the tap, turn on the light, set the table, a few dozen simultaneous existences that are repeated from one floor to another, from one building to another, from one street to another.

The title of the chapter written by Massimiliano Donninelli particularly struck me and allows me to use it - hoping the author doesn't feel bad about it - for the next question regarding the musical component of the project: Musica in Libertà. What is the sound expressed in the record, what is the message and the contents it intends to express.

I prefer to think of it as a visual journey.
Le Corbusier once said: “I am a young man of 71 years old. I am a visual man, a man working with eyes and hands and limited by plastic manifestations. My research is like my feeling, directed to what is the principal value in the life, the poetry. Poetry is in the heart of man and is the capacity to go into the richness of nature. "
I am extremely pleased to also give you Maestro Donninelli's answer, this is his thought.
"The sound expressed in the compositions represents, using an unusual expression, a path of stylistic" catharsis ", because many musical factors and not only have become part of the process of composition / transformation of a sound material that reflects musical cultures and paths very different artistic ones. The step from "unusual" to "original" is short and I think the result is characterized by this new style that has developed during the work itself. I feel the message and the contents rather as a natural consequence of the spirit that moved the project. Architecture, as a space of resonance of modern life, as Le Corbusier brilliantly expressed it, has become a space of sound resonance, the very relationship between the different approaches to composition has done the rest, has set the space, the creative one, in vibration. of the minds and sensibilities involved. "

Yes, I believe that the title of Massimiliano Donninelli's article can rightly be an inspiration for your question as well as highlighting the main feature of the project, "freedom" intended rather in the sense of freeing interior spaces from everything belongs to look beyond our experiences, freely!


Given the scope of the project I had prepared myself for a listening linked to the contemporaneity of sound (an example: the Andolangen concert by Gene Coleman, a combination of video and music dedicated to the German Langen Foundation created by Tadao Ando, ​​so to speak) instead I find myself immersed in very pleasant sounds of provenance, I would say 'modern' rather than contemporary. Why is this choice absolutely contrary to an unwritten code that wants the contemporary or classical school as a sound expression of architectural expression.

The correspondence between architecture and music has been increasingly integrated, as architecture must find ways to communicate by trying to involve all the sensory areas of the individual. Music, therefore, by stimulating the auditory faculties, can involve the individual and introduce him to ever new dimensions, as music is rhythm, it is time.
I am convinced that anyone who wants to express themselves in a creative activity must begin to grasp the essence of other forms of art without stopping solely at their own. Let architects try to reflect like musicians and let musicians do the same with architecture: the consequence could be on the one hand the design of time, on the other the sound of space, in the sense of musicality and not of acoustics.

Maestro Giuseppe Azzarelli adds:
"Cité Radieuse is not a self-referential work.The idea was to enhance this architecture as a generator of relationships, in which matter and form develop from the need to be "for man". This idea, deeply linked to the thought of Le Corbusier, is at the origin of the poetics of our project, in which architecture is not understood only as a "structure", but above all as a living space in which people live, move, play actions, they have feelings. This music, also thanks to the compositional dynamics that have defined it, tries to give life to sounds that are an expression of this living, more deeply understood as being in relationship with a space and with a time that lie beyond the parameters of 'architecture. In this dimension that I would define "symbolic", we can realize that art and music may have little to do with the concepts of pleasant or unpleasant, but have more the function of calling us to be in a certain place, at a certain time , stripping modern and contemporary words of meaning ".

Beyond the disc, a collection of writings. Let's talk about.

The project is basically composed of two entities: the record and the book.
Cité Radieuse is a meeting of different worlds and different knowledge. In addition to the various musicians involved, graphic designers, photographers, writers, architects, designers, sociologists also contributed to this project who freely explored the possible interconnections between the themes of the project, such as light, colors, sound, environments and human relations.

I'd end up with the icon that represents your project, Magnus Klackenstam's wonderful photo with a strong dreamlike impact. Is it an invitation not to lose the will to dream and always and in any case launch into the enveloping emptiness of the risky artistic flight?

Magnus is an exceptionally talented Swedish photographer, I am honored that he agreed to give us one of his beautiful photographs.
What is all this if not a dream?
Space-time continually reminds us of the uncertain lability of what we see.
I think it is essential not to lose the ability to be amazed, to marvel at life, at things that do not let themselves be grasped and escape away.

Photo credits:
Piero Giacon // Photographer
merci to Piero Giacon our director of photography

Anna Dziedzic // Interior Designer Studio MUI
merci Anna de me laisser to use your beautiful photos

Magnus Klackenstam // Photographer
merci Magnus pour les belles photos.

The team:
Stefano Meneghetti - Production + Composer and Electronics
Giuseppe Azzarelli - Composer and Piano and Keyboard
Alessandro Rorato - Creative and Sound assembler
Massimiliano Donninelli - Composer and Electronics
Yannick da Re - Percussion
Cristian Inzerillo - Electric bass


Video: Sounds Of Isha - Salem. Environment. Project Green Hands