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Alexander Smaga‘s Postgraduate Master Thesis from the University of Applied Arts in Vienna explores the translation of music into architecture in a concert hall, creating variations in acoustic mass as a result of different biocomputing techniques. The project’s aim is to embody sound into a “mental building material,” where cavernous organic forms provide options for private and open performances as well as continuous open spaces found between folds and cavities of the cellular flesh. The project’s partie involves the visualization of single tone sound structures comprised of units of repeated cycles of electronic music, where forms acquire different levels of cellular density. Combinations of these structures are further complicated by the subdivision and permutation of smaller units with different rhythms, a common model that is seen in biogenetics and nano technology. This translated mass creates a network of particular cell growths, forming a general dystopia.

A shiny, ultra thin metallic skin covers the the monolithic structure and while the outer structure is comprised of a semitransparent concrete shell. This exterior material then morphs into an artificial landscape that shows rhizomatic behavior, a unique contrast to the historically orthogonal urban boundaries of its sleepy, outdated English-style park. Smaga’s hope is to promote discussion on how architecture can stimulate the development of new styles in music through different mutational processes.

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