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Themesicon: navigation pathSound and Imageicon: navigation pathExterior / Interior
Space to Face (Lippok, Robert), 2004

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function, you would have to go right up to the wall with a flashlight. But I found the idea beautiful. We were impressed by the way that b&k+ handled materials like steel, Plexiglas, plastics, poured plastics and aluminum, and how a love of raw materials flowed throughout the entire structure. In addition, we noticed a strong connection to the way that we work with sounds, where different elements are also brought together both simply and greatly fragmented.

DD: How did these elements come together at the presentation in Avignon? It was all about establishing a structural similarity between music and architecture. Had I been at the fair, as a spectator, would I have been able to grasp that idea?

RL: I don’t know if that was Arno Brandlhuber’s idea. I wasn’t at the fair myself. We only delivered our production. The rest was done by b&k+. At best, I can imagine there being no photographs at all of the building, and simply hearing the music. In that way, viewers never have to somehow bring together the building and music in their minds. Instead, the structure of the building is revealed to them through listening to the music.


»Space to Face«

(Westfälischer Kunstverein, Münster, 2004)

IA: Whenever you develop concrete soundsfor existing spaces – like now, in Münster, in the exhibition spaces of the Westfalen Kunstverein – how does that function? What relationship exists between the architectural space and the sound generated from it? You recommended Martin Supper’s book to me; it studies how music refers to architectural space [1] . What I found particularly exciting in the book was the example by Alvin Lucier from 1969: Lucier repeatedly records the sentence «I’m sitting in a room» on the same track, and through this procedure the sound becomes increasingly unfamiliar. Through the continual replaying and recording anew, the acoustic qualities of a (virtual) space become written into the sound. That would qualify as a generative understanding, where one has a relatively direct relationship between architectural space and sound. How does this function when you work in spaces that already exist?

RL: I also use a direct connection to space. In Münster, I spent two months studying the space

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