The competition brief called for an easily extendable building, with a strong focus on personnel safety. I have prepared this sketch concept view, together with diagrams explaining our design approach to address these points. Using a construction strategy based modular plug-in elements with identical folded structure roofs, each module can be easily connected to the station as it expands in the future, adding both additional capabilities and associated staff accommodation to the facilities.
Symétriades/Extension is a visual experience that we created for an eponymous contemporary music piece for solo double bass and musical artificial intelligence.
Commissioned by Le Fresnoy - Studio National des Arts Contemporains in France, this art performance was presented at a contemporary music festival in October 2018.
In this project, art director Alain Fleischer and music composer Yann Robin wanted to express the idea of an abstract immolation of the soloist through the performance of this powerful musical piece, “plunging the audience into an immersive experience of engulfment” and “a fusion between the worlds of the seen and the heard.”
We developed with the artists a scenography and live video projections generated in real-time by the sounds and movements of the musician on stage, merging the expressionist visual universe of Alain Fleischer with poetic elements from Stanislaw Lem’s book Solaris.
Symétriades as a musical piece
Composed in 2013 by Yann Robin, Symétriades is the second opus of three abstract compositions, all titled after the incomprehensible architectural formations described in Lem’s fictitious discipline of solaristics.
Inspired by and written for Nicolas Crosse’s double-bass powerful playing technique, the composition of the musical piece also includes an artificial intelligence that reprocesses in real-time the soloist’s live performance. This electronic system, developed at the Institute for Research and Coordination in Acoustics/Music (IRCAM), distorts, filters and reconfigures the music into a network of 8 loudspeakers and 4 sub-woofers that spatialise the sounds around the audience.
The visual experience
The artists wanted to visually express the contained ferocity of the music, using the metaphor of the bass as an instrument of self destruction.
Echoing some of the themes from Lem’s enigmatic book, we constructed the visual narrative of the performance as a succession of digital incarnations of the bass player.
Overlaid onto his physical presence on stage as video projections, each of these “doppelgänger” gets corrupted and eventually destroyed under the assaults of the sounds and movements of the musician on stage. Progressively turning into an abstracted version of his image, it finally recomposes itself into a purely abstract visual representation of the music.
To achieve this, our approach mixed real-time filming, 3D motion analysis of the musician on stage and sound analysis. We coded a custom computer program that could dynamically create and composite layers of animations over the image of the musician being projected onto the stage and coordinate them with the electronic sound processing.
The dynamic nature of our system allowed the video projections to adjust to the improvisations of the musician during the performance — something that the musical score specifically encourages during certain parts of the piece!
In parallel to the visual effects, we also designed a stage scenography for the performance.
From an early stage, we wanted to keep the powerful delivery of the soloist at the centre of the visual experience. Its perception by the audience should therefore be altered not only by the means of digital video projections, but also through the physical, direct medium of the scenography.
Playing with the perception of depth, we shrouded the stage with multiple layers of finely meshed black fabrics. These translucent surfaces create the screen for the video projections superimposed onto the stage and blur the projection into an elusive volumetric presence.
Positioned between the audience and the stage, they further distort the direct sight of the bass player through shifting patterns of moiré, adding to the expressionist makeup and costume of the performer, and echoing the liquid nature of the book’s protoplasmic being. Modulating the contrast between stage lighting and video projections, we could also shift the audience’s focus between the performer on stage and his abstract projected doubles.
The creative process
As we developed and refined the effects over the course of the production phase, we produced a series of video prototypes that precisely simulated the effects, based on high-definition videos and 3D captures taken during the first rehearsal. This allowed the involved artists to visualise the performance in real conditions at each design iteration, keeping the artistic discussion open and adjustments to the system simple.
We also took care of sorting out the technical solutions for the performance, selecting adequate equipment and producing detailed 3D models of the scenography and technical workflows, so that its feasibility could be checked with the technical team as the project developed.
Credits for the project
Art direction: Alain Fleischer
Music composer: Yann Robin
Double bass soloist: Nicolas Crosse
Electronic sound treatment: Robin Meier
Scenography & live video projection system: 2hD
Production manager: Bertrand Scalabre
Stage manager: Alexis Noël
Sound setup: Geoffrey Durcak
Production: Le Fresnoy - Studio National des Arts Contemporains, in co-production with L’Ensemble Multilaterale
Are you an artist working with interactive installations or performances?
Capitalising on our experience in the Ooo-Ya-Tsu, we developed for the Symétriades/Extension performance a custom program in Processing, which managed the sound, video and motion captures and generated the projected visualisation in real-time.
Some open source libraries were also used to interface together the different components of the system: Open Kinect for Processing (for real-time video and 3D analysis on stage), Minim (for real-time sound analysis) and oscP5 (for OSC network communication).
The different computers in the performance were communicating via OSC, using the excellent OSCulator (controlling the multi-track audio playback) and TouchOSC, for which we developed a custom graphical interface to tune the parameters of the Processing program in real-time.
Double bass player Nicolas Crosse will be interpreting Yann Robin’s Symétriades piece for solo double bass and electronics, spatialised over a complex electronic post-processing system and overlaid with the live video projections we have created with visual artist Alain Fleischer.
The performance will be shown as part of a contemporary music festival within Panorama 20, the yearly exhibition showcasing the art projects developed at the Studio over the last year.
There will be four public presentations of the performance over the weekend:
Friday 5 October 2018 at 20:00 and 22:15
Sunday 7 October 2018 at 15:00 and 17:00
Come and join us for a mighty musical and visual experience!
It was the first opportunity to test in real conditions the scenography and visual effects for the video projections that I had been developing for the performance in the past few months, collaborating with lead artist Alain Fleischer, music composer Yann Robin and double-bass player Nicolas Crosse.
Based on the idea of the soloist immolating himself through the performance of Yann Robin's piece for solo double-bass and electronics, our scenography is playing on the layering of open weave fabrics that are shrouding the musician in shifting patterns of moiré and acting as translucent screen surfaces for real-time video projections.
We will be developing further the motion capture techniques and visuals over the summer, until the first public performances of Symétriades on 5th and 7th of October 2018, at Le Fresnoy.
While developing the scenography for the Symétriades performance, I experimented with mixing the 3D model of our proposed stage setup with a sketch program, to communicate our proposed concept.
This simple example maps an early animation prototype of our Processing program onto layers exported from our SketchUp model of the scenography. The multiple projections are mapped over surfaces using the KeyStone Processing library, while lighting is controlled by dynamically adjusting layer opacities in the program. The mapped animation responds to a real-time spectral sound analysis of a rehearsal recording, as well as mouse movements on the modelled stage screens.
The integration of Processing sketches and SketchUp 3D models has a great potential for communicating ideas of the art installations in an interactive way. To be explored further…
Crafting our micro-office Mission Control has been a great opportunity for us to experiment with many of the technologies we implement in our larger projects, such as natural materials, prefabrication, breathing construction and self-build techniques.
Let's look back at how Mission Control was actually made.
Prefabricating the structure
We wanted to approach the making of our new micro-office as a full-scale architecture project and develop further our expertise in prefabrication and self-build techniques.The structure of the building is composed of 13 timber panels that were prefabricated in our workshop situated 50 meters (and 3 door frames! ) away, before being transported and assembled on the site,
Each panel was designed so that its size and weight would allow two people (Tom and me) to carry it on site safely. To simplify this, we created a small plugin for SketchUp to automatically check this as we modelled the structural panels, as well as to create detailed material lists and clear fabrication manuals for each module.
Assembling the construction
Once fabricated, each module was connected on site to the existing foundations of the former garden shed and to its neighbouring panels. It was then insulated with natural sheep's wool insulation, which was a real treat to install. The whole assembly was finally wrapped in wood-fibre boards for weather-tightness, extra insulation and breathability.
The interior climate is then simply regulated by natural ventilation (adjustable with vents in the door and skylight) and the heating provided by the waste heat produced by our computers. The whole wall construction is vapour-open, complementing the natural ventilation to maintain a healthy and comfortable environment inside.
The broom cladding
The outside of the enclosure was finally clad with a total of 546 wooden broom heads, with natural coco-fibre bristles, screwed to battens wrapping around the breathing walls.
The selection of broom heads as a cladding material has been the result of a careful search for a material that would fulfil all our needs: a natural material with an interesting texture, readily available and affordable, friendly to the touch, yet resistant to break-ins by concealing any opening into the building.
Broom heads actually proved a rather economical cladding materials, as well as creating beautiful shades of browns and greys that evolve with the seasons and ambient humidity, reminiscent of some traditional thatching techniques.
Imagine, design, build and own...
Designing and crafting our micro-office Mission Control has been a long story: we started toying with the idea almost ten years ago! And it has sometimes been a frustrating one, especially when trying to fit this project between our other "more urgent" projects.
But, in the end, this has been an immensely satisfying project and something we are very proud of — having converted our initial idea into an actual architectural space that we love and truly feel our own, every bit of it designed and crafted with our own hands. A project that embodies many of our ethical values and architectural sensibilities at 2hD Architecture Workshop.
How to extend a 1930s 'Arts and Crafts' style detached house? One approach would be to mimic the original building, but that's not always the most sensitive or responsive solution.
Our clients asked us to extend their house over a dilapidated single storey 'lean-to' garage, to provide a couple of new bedrooms. They also needed more ground floor space to connect properly with their garden.
Looking at the street scene, it was immediately clear that development pattern was characterised by detached houses with relatively low-key side extensions, containing garages, porches and sheds. To extend with a typical two-storey pitched-roof building would change this pattern and detract from the prominence of the 1930s house. Instead we proposed a subservient, low pitched roof that would sit below the existing building's eaves and drop down into the slope of the land. This would be clad in dark-stained vertical timber boarding, reminiscent of a number of 1930s modernist buildings - a different style but still contemporary with the original.
Having consulted neighbours and the planning officer, we carefully explained this strategy through our planning application drawings and Design and Access Statement (DAS). This latter document is often seen as a bit of a token gesture on small scale project like this, but we see it as an opportunity to explain the care we have taken in our design and the various options considered along the way.
We were successfully able to make a case to go against the planning officer's pre-planning advice to use a pitched roof — it was a sensible suggestion and not one we rejected out of hand, but by careful analysis of the particular setting of this building we arrived at the conclusion that in this case, a pitched roof would not be the best way to go.
The end result will be a sensitively designed contemporary extension that extends the living space and amenities of the home without impinging on the neighbours or detracting from the proud character of the original house.
We like to describe Ooo-Ya-Tsu as an art performance of "collaborative soundscape painting", exploring the interaction between the gestures of classical hand-drawing, animated computer graphics and electronic music.
Ooo-Ya-Tsu is the fruit of our collaboration with visual art collective Qubo Gas and musician Olivier Durteste (a.k.a DDDxie), which took place during a series of artist residencies and public presentations between 2013 and 2016.
2hD takes part in the live public performances of Ooo-Ya-Tsu, but also developed the computer programme that drove the interaction between the drawing instruments (pencils and paint brushes), the video projection on the canvas and the musical instruments.
What is Ooo-Ya-Tsu
Taking place in the midst of the audience, three visual artists draw simultaneously on a large paper canvas laying on the floor, using pencils and watercolour brushes. Each of their actions leaves physical traces on the canvas, but also creates flurries of colours and animated collages — superimposed by a video projection that tracks their drawings movements — as well as layers of sounds and musical rhythms that build on the musical performance of the musician, sitting next to the paper canvas.
Responding to these new sound patterns, the musician himself adjusts his own live composition using electronic music instruments, creating in turn new visual effects on the paper canvas and influencing the live actions of the drawing artists.
As the performance unfolds, a complex graphical and musical dialogue develops between its different actors — each influencing the others' work, while all collaborate interactively to create a unique sound and visual landscape.
Inspired by the principles of phase music, the different rhythmic and visual layers of this landscape come in and out of focus: sometimes momentarily revealing the different musical and graphical universes that constitute them, sometimes recombining them into complex abstract patterns. Until eventually, both music and projected animations begins to evolve autonomously, continuing to shift and echo long after the performance of the actors themselves is over.
At the centre of the Ooo-Ya-Tsu performance is a custom-made computer programme created by 2hD, using the Processing programming language. This powerful language allowed us to develop a system that allowed linking all the different aspects of the performance, combining motion tracking, video projections, interactions with physical objects and simulations of autonomous particle systems...
The visual aesthetic of Ooo-Ya-Tsu is based on the dream-like imagery of French art collective Qubo Gas, whose work poetically combines painstakingly intricate paintings and collage techniques, with scales ranging from miniature to architectural.
Having scanned a series of artwork they produced for the performance, we programmed the system to dynamically recombined them into an near-infinite number of different collages.
These images could then be superimposed and animated onto the paper canvas, responding to the physical ink forms drawn on the canvas during the live performance, which are analysed by the programme in real-time using infra-red cameras.
The modular aspect of the Processing language also allowed us to combine existing programming libraries to interact remotely with the musician's live performance: triggering visual events in response to certain of his composition patterns or sounds, but also playing sounds directly on his electronic instruments in response to drawing actions on the canvas.
The resulting soundtrack of the performance is a layered composition of phase-shifting abstract samples, overlapping and structuring DDDxie's live electronic music:
Despite its technical complexity, we conceived Ooo-Ya-Tsu so that the technological aspects of the performance remained mostly inconspicuous, keeping the focus instead on Qubo Gas' poetical hand drawings, the materiality of the paper medium and DDDxie's layered and minimalist sound compositions.
In 2013, the Ooo-Ya-Tsu performance was awarded a production grant from the prestigious Centre National du Cinéma et de l'image animée (CNC), in France.
Are you an artist interested in interactive installations and performances?
Interested in hosting Ooo-Ya-Tsu for a public presentation or an artist residency?
In our latest collaboration with David Boden, of Boden Associates, we produced a series of visualisations for a twenty-story mixed-use development in central Leicester, UK. These were used as part of an on-going consultation with the local planning authorities.
While this project was still in its sketch design stage, we built and maintained a SketchUp model of the building, based on the 2D drawings (plans and elevations) produced by the design team. As the design evolved, we updated the 3D model to reflect changes and provide visual feedback to the team, allowing them to explore alternative design options and assess visual impact.
We eventually produced illustrations of the proposed building for presentation to the city planners, who had specific questions about massing and facade treatments. The challenge was to clearly illustrate the design aspects in question, while emphasising the fact that the design was still in progress.
To achieve a subtle blend of sketchiness and detail, we used a hybrid presentation technique combining photorealistic renders of our SketchUp model (using Maxwell render) with hand drawing and photography.
In the summer cabin we redesigned on the Oslo fjord, we articulated the main living space with an open screen that had to perform many functions: create a light visual separation within the open plan space, provide storage for outdoor clothing and shoes for up to ten guests, integrate a large TV and offer seating in front of the new wood stove.
We finalised the design of this custom-made furniture as the project was already on site and decided to build it out the same oak bench plates used for the new kitchen. We created detailed instructions for the builder about how to make and assemble this large piece of furniture. Our instructions even included the detailed cutting patterns to minimise waste from the standard benchtop boards used to make it!
Back in April I entered the BSRIA ideas competition "Make Buildings Better". My idea is simple but might be quite radical, if it could be realised...
Jayne Sunley, Knowledge Manager at BSRIA said, “We’re delighted with the variety and inventiveness of the entries submitted. Tom’s idea stood out as a genuinely practical and interesting way of tackling the performance deficit of buildings. So many problems occur at junctions, rather than within components themselves, it is an obvious place to focus attention”.
A misconfigured AutoCAD-to-SketchUp import, transforming a set of drawings into an intricate mandala...
Together with collaborating artists Qubo Gas, we are dwelling a bit more on the subtle interactions between the physical drawings and the animated video projection on the watercolour paper...
Come and see the live Ooo-Ya-Tsu performance on Thursday!
We have just finalised the design for the remodeling and extension of a family house in Bærum, near Oslo. The detailed drawings package has now been sent to potential builders and, before construction starts this spring, we would like to share some of the ideas behind our design approach.
About our clients
Our clients, a young Norwegian couple with a toddler, had purchased a derelict detached house in the neighbourhood of Gjettum. The existing house had been divided into two rental apartments, one on each floor, connected by a shared entrance staircase.
Their plan was to merge these two floors into a single family home, where they would live and host frequent gatherings with their large extended family. The structure and footprint of the existing house was to remain mostly unchanged, but its fabric upgraded to meet modern environmental standards. Our clients were also considering the option of accommodating a rental apartment within the house, to create some additional income until they needed the whole house for their growing family
The existing house
The general feeling of the existing house was somewhat claustrophobic: the redundant spaces created by the two identical floor plans, the small cellular rooms and window-less corridors, the few oversized windows... All contributed to the impression of undersized spaces. A large garden surrounds the house but this was completely disconnected from the interior. It was also mostly spoiled by a garage and a long driveway to the south boundary of the site, which made the approach to the building unwelcoming.
Our design strategy
An obvious solution would have been to extend the house to open up the main living spaces. However, as in many of our projects, we focussed on making the most of the existing building. Key to this approach was to reconnect the various living spaces — both interior and exterior — so that the different architectural functions could flow into one another.
Connecting the social spaces
Our first step was to move bedrooms to the upper floor, so that we could gather all social spaces on the ground floor, just a step away from the garden. We then removed a few internal walls to open two long perspectives across the whole ground floor. This created a close connection to the garden, making it both visible and easily accessible from all living spaces.
These spaces — where eating, relaxing and socialising take place — naturally organised themselves around these open lines, articulated by the existing staircase and a new wood stove. Each living space is designed with its own sense of scale and openness. Yet, it can be used as an extension of another, giving maximum flexibility both for everyday life and for the large social gatherings that our clients love to host.
The kitchen — the natural heart of the house for the family — is now placed at the very centre of this plan and is connected to all surrounding social spaces. A screen of open shelving wraps around the kitchen, to subtly shelter it and discretely accommodate storage, appliances and a study (that doubles as an accessible guest bedroom) on the north-east.
Opening up to the garden
Each of the living-rooms extends to the garden through large French doors: on the south-east, onto a large timber terrace stepping down to the main garden, and on the south-west to a more private terrace that opens the dining room to the evening sun. Since all windows had to be replaced, we took this opportunity to redesign many of the openings to the garden, drawing daylight from different directions in all spaces and carefully framing attractive views to the outdoors.
To the south, we created a new functional and welcoming entrance to the house that also accommodates an accessible modern bathroom. Both this small extension and the new garage (relocated closer to the access road) are designed with similar flat roof details and horizontal cladding, contrasting with the taller existing house. Together, they frame an attractive new approach to the house that echoes the traditional "tun" of Norwegian farmyards, under the dappled shade of newly planted cherry trees.
The private spaces
A new family bathroom and four bedrooms are located on the upper floor. One of these rooms doubles up as a separate TV/play room, where extra guests can stay overnight.
The basement is also remodelled: two thirds of it are transformed into a comfortable self contained apartment, which will be rented out to tenants before becoming an integral part of the house for family guests and teenager children. The large new windows bring plenty of daylight into the space and the separate access to the north and landscaping create a small private garden for the tenants. The remaining space in the basement accommodates a large washroom, as well as the technical installations and storage.
Comfort and sustainability
As part of the remodeling, we upgraded the whole house to meet current energy conservation standards, externally insulating the fabric of the building and replacing the existing windows with highly insulated ones.
We also made the most of the panoramic wood stove on the ground floor by coupling it with a modern balanced ventilation system: diffusing the stove heat in the whole house — including the four bedrooms upstairs— we could design the house so that most of the heating needs would be provided by renewable firewood, while also keeping optimal indoor air quality.