In the case of traditional concert halls, assumptions of how attention should be spatially organized have often been relegated to a very strict (social) order. In an attempt to both integrate and collide these prescriptions, this work sought to explore architectural performance through specific “musical” works that resisted and continue to resist models of conventional artistic and social orders. Within this wildly diverse niche, my reductive observations of canonized experimental music were that the tendencies of the contemporary composer were to act less as a virtuosic arranger of nameable scales and more as one who initiates attention to the surrounding world (its audible nuances, paradoxes, social structures, perceptions etc.) Rather than propose a monolithic and rigid spatialized dogma, an iconic container which wrapped nearly all forms and attitudes about music and performance into a beautifully articulated box, this figuration sought to create a condition where simultaneous scenarios would exist within a single site, mutating a kit of parts through pressures curated from selected “musical” works. The scenarios were sited on an abandoned concrete block directly across from L.A.'s City Hall.
Sci-Arc Thesis Show / Advisor / Peter Zellner