Performance Spaces

In historical torpedo design, mission analysis, which relates torpedo performance to mission success, has been used as a stand-alone tool to derive specific torpedo performance requirements. These performance requirements must then be met by the torpedo designer. However, the incorporation of mission analysis into the engineering design of a torpedo system grants more freedom to the designer. The designer can immediately see the effects of design variable changes on mission success, and can infuse new tactics in addition to new technologies to expand the available design space. This paper serves to explore the performance space of a torpedo, then relate this performance space to the design variables by mapping the performance space directly to the design space and design variables. The paper also studies how granting the designer control of weapon tactics expands the design space, allowing the torpedo and its tactics to be concurrently optimized. This new approach results in significantly greater design freedom and the ability of the find a systemlevel global optimum.

This book chapter delves deep into the lives of Bengal's 'Three Daughters' (Tin Kanya) - Kamala Jharia, Angurbala, and Indubala. These three phenomenal women singers went on to become first Bengali women singing stars and is the central focus of this chapter. I have attempted to trace their discipular lineage alongside their individual stories of success.

The territorial palimpsest is a dynamic system of
relatonships evolving over tme that has seen
natural elements interact with those built by
man. If, on the one hand, it is therefore possible
to read the territory as an architectural construc-
ton, on the other hand, we have those econom-
ic, natural, and social forces that have infuenced
the events that transformed the palimpsest. The
method of archaeological analysis of the territo-
ry proposed by Ignasi de Solà-Morales helps to
understand how both collectve processes and
the radical formatve actons exercised by power
have contributed to modifying a place through-
out its history. The case of the area of the Sanc-
tuary of Hercules Victor and Villa d’Este in Tivoli
is exemplary in illustratng how a territory highly
characterized from a geomorphological point of
view has infuenced the urban transformatons
that have taken place since ancient tmes, main-
taining traits of contnuity with the previous
stratgraphies. In this sense, the archaeological
level has played a fundamental role in establish-
ing the genealogical link between the territory
and the transformatons that have overlapped
subsequently. In partcular, Villa d’Este is both an
example of architectural creatvity and an exer-
cise of power that is grafed onto the territory
in contnuity with setlement practces despite
its high-sounding transforming force. The study
proposed here intends to rework both the invari-
ants and the modifcatons of the morphological
structure of the study area by associatng them
with the type of force that generated them. The
aim is to highlight the relatonship between ar-
chitecture, heritage and local resources with the
possibility of making hypothesis for future pro-
cesses of territorial transformaton in contnuity
with the ways in which the previous ones has al-
ready have already taken place over tme.

Like Elvis, much contemporary theatre seems to have "left the building"; a statement suggesting the architectural show is over and signalling a death of sorts, that of well-made drama in a well-constructed edifice. As the stable ground of theatrical representation is increasingly ungrounded, live and mediated performance 'takes place' elsewhere, reconfiguring theatre as both art form and built form. This paper expands a book chapter on the place of architecture in Contemporary European Theatre and Performance (Remshardt/Mancewicz, 2023), which is affected by spectacular events of the 21st century that invade the global imaginary, primarily via screened imagery of political upheaval, conflict, contamination, climate change, pandemics and the plight of those seeking refuge from these threats. Theatre, like contemporary civilisation, can no longer rely on a home that is safe and sound. By drawing on a cautionary fairytale of The Three Little Pigs, the paper reverse engineers the story that privileges the value of building one's house out of bricks rather than sticks and straw. Instead, it maintains that the environment housing theatre has moved from enduring standalone monuments of the 19 th century to more experimental sites of the 20 th century, to ephemeral and transitory locations of the early 21 st century, in which deliberate homelessness reinforces the community itself as house.

Most of the literature on room acoustics is focused on the design of concert halls (+1000 seats), chamber music halls, opera halls or actual theaters. However most performance spaces built are actually smaller multipurpose rooms. Often these will be the only venue in the community, implying that the acoustic conditions of the space must function for a very broad variety of performances, everything from acoustic concerts to reinforced music, drama, musical theater, conference and in some cases also as a cinema. Obviously this requires a high degree of acoustic variability, but quite often these halls are also built with a very limited budget, meaning that expensive moveable constructions are not possible to use. This paper will discuss the challenges of the acoustic design for these types of venues, based on experience of recent halls in the Nordic countries and Baltic.

Involving a global network of interdisciplinary scholars and artists, Performing Space is an ongoing research project exploring the relationship between performance and the built environment from the varying perspectives of those studying and practicing at the intersection of human activity and its space, such as architecture, archaeology, anthropology, sociology, theatre studies, philosophy, economics, media, and visual arts.
The Performing Space 2023 Workshop and Conference, held in Nafplio (Greece) from 7 to 14 July 2023, was the second edition of this project. It was organised by the Polytechnic University of Madrid together with the University of Peloponnese. This second edition included 36 papers and 12 workshop participants from more than 10 different countries. In this volume we present the results of the conference, which covered topics such as the performative expression of space through site-specific performances, spatial performativity, the relationship between space, ritual and myth, the uses of performance as a tool to understand our environment, the use of the digital image in different types of performance, and the use of performance in education.

Hindustani Classical Music evolved from Indian Classical Music which appeared in a number of Classical and Semi-classical Forms during the medieval period in northern India. Initially, the Classical Forms and later on some Semi-classical Forms under Hindustani Music were considered as Court-music and the same being patronized by the Kings, the Nawabs, and the Zaminders of our country. Gradually the trend of this music expanded to the eastern region of India. Raga being an integral part of Classical music and the prevailing Cultural Tradition of our country, both Classical and Semi-classical music have enriched the repository of Hindustani Music through the form of Cheez or Bandish (composition) as certain Classical and Semi-classical genres by the noble contribution of the Court-musicians and the Gharana exponents.
Girija Shankar Chakraborty of Bengal was born in the mid of nineteenth century A.D. and made a permanent and indispensable position in the world of Hindustani Music since the second decade of the twentieth century A.D. Besides being a Performer and a Trainer he served other various roles for the spread and development of both the Classical and the Semi-classical genres and ultimately has left a permanent significant impression in the minds of music lovers. This paper explores Girija Shankar’s excellence in the field of Hindustani Music which will prove his distinctness from other contemporary music professionals of Bengal.

The research project titled Thymele, funded by the Hellenic Foundation for Research and Innovation [ELIDEK] under "Basic Research Financing (Horizontal support for all Sciences), National Recovery and Resilience Plan (Greece 2.0)” aims to create a fundamental infrastructure tool—an innovative multimedia Dictionary—that will contribute to the establishment of a commonly accepted conceptual and interpretative framework for the Performing Arts and the terms and concepts found in this field.

This article discusses the transformations of the Clean Monday festival and its multiple meanings in Athens over a century and a half in the context of the growth of the city, the advance of modernity, the deepening of commodity relations, and secularization. The first day of the Lenten fast for Orthodox Christians formed part of carnival in terms of revelries, obscenity, and "magical thinking." Moreover, Clean Monday in Athens was a major open-air festivity in which commensality and dance validated communal ties. Various changes occurred in the second half of the nineteenth century: the celebrations were dispersed into the space around the city and loosened their ties to the urban community and Athenian identity; and modernity brought individualization, a reduction of the sacred and ritual element in favor of leisure, commercialization, and ultimately the de-carnavalization of the festival. Clean Monday did not decline but was eventually enriched with new meanings. Its links with folk culture were strengthened, as it was appropriated by various communities of internal migrants. Its association with a boys’ culture of amusements was reinforced by the spread of kite flying. Finally, the character of Clean Monday as a day of contact between the city’s inhabitants and nature and as a welcome to spring became dominant in the twentieth century and has remained so to this day.

This publication may not be duplicated without the permission of the Eppley Institute for Parks and Public Lands, acting on behalf of Indiana University. The National Park Service and federal agencies may duplicate it for training and administrative purposes, provided that appropriate written acknowledgement is given. No other state or local agency, university, contractor, or individual shall duplicate this publication

In this paper the domestic kitchen is studied as a performance space of female artistic creativity from the 1970s up until the 2020s. Stereotypically considered to be the realm of the housewife and the mother, the domestic kitchen is also a site of women's "incarceration" and oppression. "Performing the everyday" within the inescapable walls of the kitchen has led to an awareness of feminist concerns as artistic expression and political practice, while the kitchen itself provided a locus for female artists to produce performance pieces that expose their changing position in society, by turning the kitchen into a laboratory, a workshop and a private theatre.

Hindustani classical music, an offshoot of Indian classical music, evolved during medieval period as a consequence of the culture of Court-music in northern India. Raga being an integral part of Indian classical music and a prevailing cultural tradition of India naturally enriched Hindustani classical music through various forms and styles. The popular Classical and Semi-classical Genres of such music were aptly performed by the Court-musicians and the Gharana exponents as well. The learning of the same are supposed to be transmitted from one generation to the other in Gharana system, being exclusive in Hindustani classical music. The trend of Hindustani classical music initially flourished in central and western regions of northern India which gradually pervaded over the eastern regions.
Nagendranath Bhattacharya of Bengal put his great and versatile contribution in the field of Hindustani classical music during from the mid of nineteenth century A.D. to the first phases of twentieth century A.D. This paper seeks Nagendranath’s salient contributions in Hindustani classical music in many quarters despite a great deal of contributions of other contemporary music practitioners of Bengal to their respective fields.

The period from early 16th century AD to the mid-19th century AD in the history of
India is termed as the Mughal period. It was the largest time period for any empire
to rule over the lands of Hindustan. It is believed that these Mughal Rulers brought
with their own culture and beliefs, which when interacted with Indian culture
and ethics led to the development of a complete new culture called the Indo-Mughal
culture. There were numerous literary works and texts written and translated under the
imperial patronage of the Mughals. Mughal Emperors also patronized many painters
under whom Paintings depicting music and dance were made. This paper is an attempt
to write about the dance which was prevalent in the Mughal Courts, following the
chronological order from Babar, the first emperor, to Bahadur Shah Zafar, the last
emperor and their tributary states, like Awadh. Researchers have also tried to critically analyse these mentioned dance forms from some of the medieval texts and paintings under the Mughals and their possible connection to the present dance form, Kathak.

This dissertation has come to fruition due to the generous contributions of so many people, from my dissertation committee members to other scholars, informants, mentors, friends, and family whose support and generosity made this research possible. I'd like to begin with thanking my wonderful dissertation committee. Dr. Stephen Slawek has been a musical inspiration, generous sitar teacher, and a source of scholarly ideas and support for my research over the past decade. I have been most fortunate to study with him, and this experience has shaped my career and my life. Dr. Sonia Seeman is as much a rigorous, inspiring scholar as she is a generous mentor. Her mentorship, critical feedback, and strategies for writing and thinking indelibly shaped my approach to research and this dissertation. Dr. Luisa Nardini is an advocate, mentor, and teacher whose guidance has carried me through crucial moments throughout graduate school and will continue to inspire me far beyond it. Dr. Donald Davis shaped how I think about the history and present of social, religious, and political life in India and inspired a new dimension to my research and thinking across disciplines. His wise advice and balanced perspectives have shaped my thinking over the years. Dr. Andrew Dell'Antonio's enriching feedback, advocacy for students, and belief in the value of my work provided an essential boost of energy that helped me push through the final stages of writing at a time that I most needed it. My research and dissertation writing were made possible through the generous

In the 1960s, the emergence of performance-(or action-) based art movements such as Fluxus and Happening led to the questioning of the dominant forms theatre buildings had taken (up to this point). German theatre and architectural journals of that time discussed the idea of mobile and movable, adaptable spaces for all kinds of cultural performances and activities. In 1964, Joan Littlewood and Cedric Price presented their concept of FUN PALACE, a space which was planned to be adaptable to all kinds of user's desires and activities-a highly variable 'house' for the arts and culture in a broader sense. These proposals remained unrealised. But we find similar ideas and concepts not only in monumental adaptations such as the Centre Pompidou, but also in temporal practices of artists, curators and cultural activists who 'stage' their work in the movable spaces of abandoned (industrial) buildings, e.g. the 'squatting' of the former Palast der Republik in Berlin in 2004/5. The paper discusses these examples as part of a conceptualization of thinking about modelling new spaces for performance-based arts and cultural activities which overrides the tradition of separated architectures for different art forms.

Frequency based results for "female" singers singing "scales" in each practice room ... 4.5.4.2. Frequency based results for "male" singers singing "scales" in each practice room ...... 4.5.4.3. Frequency based results for "female" singers singing "song" in each practice room ..... 4.5.4.4. Frequency based results for "male" singers singing "song" in each practice room ........ 4.5.5. Conclusion of Field Stage .

Η Δρ. Μαριάννα Χαριτωνίδου είναι μεταδιδακτορική ερευνήτρια στο Τμήμα Θεωρίας και Ιστορίας της Τέχνης της Ανωτάτης Σχολής Καλών Τεχνών (επιστημονική υπεύθυνη του έργου Το όραμα ανοικοδόμησης του Κωνσταντίου Α. Δοξιάδη και του Adriano Olivetti στην Ελλάδα και στην Ιταλία: μεταξύ συγκεντρωτικής και μη συγκεντρωτικής πολιτικής). Έχει παρουσιάσει εισηγήσεις σε πάνω από 111 συνέδρια και έχει πραγματοποιήσει πάνω από 105 δημοσιεύσεις. Ανάμεσα σε αυτές: Architecture, Photography and the Moving Eyes of Architects: The View from the Car (Routledge, 2024), Reinventing Modern Architecture in Greece: From Sentimental Topography to Topographical Sensitivity (Routledge, 2024), Architectural Drawings as Investigating Devices: Architecture’s Changing Scope in the 20th Century (Routledge, 2023), Drawing and Experiencing Architecture: The Evolving Significance of City’s Inhabitants in the 20th Century (Transcript Publishing, 2022). Έχει εργασθεί ως Λέκτορας στο ETH Zürich, όπου εκπόνησε τη μεταδιδακτορική έρευνα The Travelling Architect’s Eye: Photography and Automobile Vision και επιμελήθηκε την έκθεση The View from the Car: Autopia as a New Perceptual Regime (https://viewfromcarexhibition.gta.arch.ethz.ch), στο Πανεπιστήμιο Ιωαννίνων, στο Εθνικό Μετσόβιο Πολυτεχνείο, και στις École Nationale Supérieure d’Architecture Paris-Malaquais, Paris-la-Villette και de Versailles. Είναι διδάκτωρ μηχανικός του Εθνικού Μετσόβιου Πολυτεχνείου, με μεταπτυχιακές σπουδές στο Εθνικό Μετσόβιο Πολυτεχνείο, και στην Architectural Association, και αρχιτέκτων μηχανικός του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης. Διδάσκει αρχιτεκτονική σε πανεπιστημιακό επίπεδο από το Δεκέμβριο του 2012.

We can call "spatial performativity" the capacity of space to influence the behaviour and mental states of its users. The detection of the mechanisms through which spatial performativity functions is of particular importance for architectural and performative arts practice and for social science studies, yet there is little research on it. Spatial performativity is particularly intense in ritual space, as it corresponds to one of the main functions of ritual: to shape the bodies, behaviours and thoughts of individuals in a society. Ritual space, therefore, is an extraordinary case study for understanding how spatial performativity works, although it is necessary to establish study guidelines, given the enormous variety of configurations of ritual spaces. The characteristics of ritual that Catherine Bell proposes, applied to the study of performativity in ritual space, are very useful as research guidelines, for they allow us to detect common strategies in the use of architectural elements as generators of performativity, regardless of the ritual and culture in question. The categories of ritual pro-ernance, sacral symbolism and performance. To these characteristics we can add another one proposed by Caroline Humphrey and James Laidlaw, which basically consists of a modification of the usual intentionality of human action and has been called by Evangelos Kyriakidis a specific "frame of mind". That characteristic seems to be spatially linked to the spatial qualities produced through light, sound, smell or texture, which gives us a guideline to complete the study from the point of view of sensory perception.

The 19th century Bengal was promenading under the influences of various factors like the Bengal Renaissance of various literates and the Babu culture of the nouveau rich. It was also the time when the countryfolks came to Calcutta seeking jobs, imbibing elements of folk art with popular culture. Soon with the transition of time, there arrived a stage when the artisans were more engrossed with the cash economy of urban life. Thus, Calcutta became a hub for different art forms and musical cultures, amongst them was Kobigaan. A musical duel among the poets, it became an enlightening form of entertainment amongst the Bengali literates and they would frequently hold Kobilorai sessions in temples. Kobigaan rose in prominence around the period of colonial Bengal of 18th and early 19th centuries. Kobigaan was seen as a concoction of Vaishnavite poetry with religious and ritualistic themes combined with satire. It was also the time when Bengal Province was witnessing the influx of many cultu...

The purpose of this tusk is creation of an intelligent system for visualization and creation of choreographic performances, which would enable the user to perform his tasks related to dance performances quickly and conveniently. To achieve this goal, the following tasks were set: to carry out researches of the literary sources concerning a subject of work; to carry out the analysis of similar systems and to prove the development of the studied system; to carry out systematic analysis and substantiate the problem; to make the choice of methods and means for solving the problem; implement software implementation of the mobile application to solve the problem; to test the developed system. Object of study is the process of visualizing and creating choreographic productions. Subject of study is methods and tools for building an intelligent visualization system and creating choreographic productions. Research methods is application of system analysis methods. The obtained results enable ...

This article describes the trajectory of the CATI team – a team of Greek arts therapists who work in Greece and the UK. In addition to a historic documentation of the team’s work since 2011, personal experiences and reflections of the team members are described, as these emerged through an artistic inquiry process. Drawing from the work and experiences of the CATI team, the authors set questions and offer suggestions regarding interdisciplinary collaboration while considering the broader field of arts therapies not only in Greece but also internationally.

Awaza Convention Center in Turkmenbashi is designed and constructed by Polimeks Inc. to host the visiting top officials in Turkmenistan. The construction was completed in September 2015. In the form of a state pavilion, the building represents the power of Turkmenistan with its stately stature serving its valuable guests. The complex sits on a total area of 185,000 m 2 with an indoor area of 52,700 m 2 , and includes 9 floors. There are two conference halls with 2,000 and 500 seats, one banquet hall with a seating capacity of 450 and another with a capacity of 250, and a press conference hall with a capacity of 130. The center also houses a 130-seat multipurpose meeting room for heads of states, a hall for signing bilateral protocols, and a meeting hall for government delegations. Additionally, there are six smaller conference halls with a seating capacity of 30 to 100 for special events, a 100-capacity reception hall and six special office rooms for the heads of states. Acoustical ...

In historical torpedo design, mission analysis, which relates torpedo performance to mission success, has been used as a stand-alone tool to derive specific torpedo performance requirements. These performance requirements must then be met by the torpedo designer. However, the incorporation of mission analysis into the engineering design of a torpedo system grants more freedom to the designer. The designer can immediately see the effects of design variable changes on mission success, and can infuse new tactics in addition to new technologies to expand the available design space. This paper serves to explore the performance space of a torpedo, then relate this performance space to the design variables by mapping the performance space directly to the design space and design variables. The paper also studies how granting the designer control of weapon tactics expands the design space, allowing the torpedo and its tactics to be concurrently optimized. This new approach results in significantly greater design freedom and the ability of the find a systemlevel global optimum.

Her research considers the way notions of landscape interact with the themes of identity, memory, gender and climate change in contemporary art. She has curated a number of exhibitions, includingH ow to Make a Garden(2012), Exercises in Orientation (2013/15) and Planetes (2017). Her essays appear in exhibition catalogues and edited volumes, including the 'Daybook' of documenta 14 (2017), the edited collectionsC ontemporary Art in Cyprus: Politics, Identity and Culture Across Borders (Bloomsbury, 2021) and Marianna Christo5des: Days in Between (Hatje Cantz, 2021). She wrote the second book in the series of Next Spring (Atlas Projectos, 2018), edited by Laura Preston. Arianna Economou Arianna Economou is a performance artist, dancer, choreographer and movement re-educator, interested in body-based theatre work and improvisation. She has developed a personal performance practice based on a mixture of somatics and embodied approaches. Starting from cellular awareness, she builds collaborative, interdisciplinary performances in the form of rituals that include text, voice and performative writing. Economou is currently running 'rehearsal', a research and residence studio, continuing the work carried through her previous studio, 'Chorotheatro'. The latter linked Cyprus to internationally known artists, promoting intercultural collaboration since 1985. In 1996 she initiated 'Echo-Arts Living Arts Center', a non-proXt organization dedicated to the development of dance practice through the exploration of links between localities and their educational and social contexts. In 2004 Economou has been instrumental in founding NEA KINISI and has been its Xrst founding president. In 2008 she founded Dance Gate that became an EDN memberand founding organization of Dance House Lefkosia as its Xrst founding president. With Dance Gate she created in 2009 the No_ Body Dance/ Movement & Performance Arts the Xrst of its kind on the island and she has been its Artistic Director till 2020. Economou is the receiver of the Tefkros Anthia & Theodosis Pierides Award for her cultural contribution to the island in 2005 .www.echoarts.info , and www.cyprusdancegate.org. Her work and workshops have been presented in various countries including England,

Relocatable buildings are commonly spread around as an alternative method of construction. To consider it a successful practice, it should perform its function similarly to a traditional way. Assessing a building after its operation determines the rate of its success and decides the possibility of repeating its type. This study aimed to provide a comprehensive knowledge base related to space evaluation of the building through spatial assessment. This study investigated the functional efficiency and dimensional requirements of a relocatable hospital in Mosul, in the south of Iraq. This study compared the dimensional requirements of eight hospital departments to the standard, followed by functional efficacy analysis based on space syntax theory and compared the results to examples used in standards books. The results showed that departments in the relocatable buildings have good plan integration. We concluded that hospitals constructed with containers could achieve functional efficiency.

Information Telecommunications Technologies and Automation (ICTA dealing with any potential conflicts or space management issues as it happens via informal decisions by the Facilities Management. It is argued that this epistemic knowledge based approach relies too much on informal evaluations and its subjective outcome is not a true indicator of the potential utilisation of space that may benefit more from an objective decision making process. Expected performance of spaces by Landlords towards Facilities Management is increasing due to external pressures from rising commodity prices and increasingly demanding sustainability targets. Alongside existing policies, this applies ever more pressure on the Facilities Management to continuously deliver an environment that not only reduces running costs but also manages space resourcefully striving for a productive workplace. Acknowledgement: The work is part of the SPEARHEAD collaborative research and development project funded by the Tech...

The acoustical conditions of rehearsal rooms are of primary importance during the training process of an orchestra. Therefore these spaces should be specifically designed to allow the musicians to clearly hear themselves and each other. At the same time an appropriate sound level should be maintained to avoid extensive exposure to high pressure levels. Despite the peculiar role of these rooms in the musical production, the criteria for their acoustical design are not still sufficiently clarified. This paper deals with a description of a design process which, starting from simple formulas of a reverberant field, leads to investigate the relevance of geometrical and acoustical parameters on the final performance of a rehearsal room. The influence of the values of the ratio V/N (Volume/Number of musicians), S/N (floor surface/number of musicians), W/N (Sound power/Number of musicians) on objective acoustic parameters such as STEarly (Early support) will be described. A guideline for th...

Analysing the results of subjective listening tests in real halls, the sound power levels of the different orchestral ensembles as sound sources for the listening tests are shown to be an important factor. Correspondence between objective measurements and subjective evaluation, especially for the question of loudness of the hall, turns out to be very good when the effective sound pressure level at the listeners' positions is taken as the objective parameter. This means that in order to explain subjective judgments on the loudness of a hall not only the objective measure of the amplification of the hall, but also the sound power of the orchestra has to be taken into account. On the contrary, judgments of subjective loudness turn out to be independent of orchestral ensemble for halls of auditorium type, indicating that for the evaluation of chamber music a change in response strategy of the listeners occurs. The regression constants for the subjective changes due to either a chang...

This article examines three examples from recent Greek theatre that stage the experiences of migrants and refugees against the backdrop of Greece's growing internationalism and multiculturalism. In allowing migrants to author their own narratives of border-crossing into a new "homeland," these theatrical endeavours attempt to break both the monologism of Greek theatre and monolithic understandings of national identity. In acknowledging the risks and tensions underpinning the migrant's presence on stage, the article also applies pressure to questions of encounter, authenticity, representation, and selfexpression, and it interrogates some ways in which migratory subjects navigate the precarious space of belonging and author themselves in the context of contemporary Greek theatre.

La imbricación entre el flamenco y las artes es indisoluble y uno de los pilares
centrales de la asignatura que impartimos en la Universidad Complutense de
Madrid y en el Institut Flamenco de Barcelona 1. La figura de Enrique Morente
(Granada, 1942-Madrid, 2010) es esencial para entender esta relación. En este
capítulo, tras realizar una breve contextualización sobre las artes en general,
mencionaremos espacios performativos de su Granada natal 2, los bares de Madrid,
como el Bar Candela, donde se reunía con flamencos y gente de las artes 3,
para a posteriori comprender el trabajo que realizó en su «taller» (home studio) y
escenarios del Auditorio Alfredo Kraus (2005) y del Liceo de Barcelona (2010).

The Italian historical theatres have been built to blend the singer voice into the orchestral sound in the melodrama. In order to arrange the different scenes required by an opera representation, these theaters have a large volume in the stage area. Thus the stage volume may be oversized compared to the one of the orchestra pit. The paper studies the musician's perception in the Masini Theatre of Faenza when the stage is used by symphonic orchestras or smaller groups, making also the reference to similar literature concerning different theaters shapes. The impulse responses on stage have been measured and the monaural normal descriptors have been extracted. Numerical models of the stage are implemented in a hybridray tracing software and an acoustic shell is designed. Questionnaires have been submitted to professional musicians and the answers have been statistically resumed. Hence acoustical measured descriptors, simulated values and musician answers are related and discussed.

Two coupled volume halls for music has been accomplished in Oslo the last year where we have been acoustical consultants. Scene II (two) is a 440 seat multi purpose hall in the new Oslo Opera. The ‘Ridehuset’ is a refurbishment of an old building to a rehearsal room and 230 seat concert hall for the Staff Band of the Norwegian Armed Forces (FSMK). Both auditoria have coupled volumes and variable absorption. In spite of being very different rooms and shapes, they share some acoustical properties we would like to address.

At the conference DAGA 2017, a method of multidimensional visual analysis of basic room-acoustical parameter values incorporating reverberation time RT Mid , strength G Mid and volume V was presented. Using this method, it is possible to demonstrate that different room types such as e.g. concert halls, opera or chamber music halls form separated clusters in partial volumes of the acoustical parameter space spanned by the acoustical parameters. For concert and opera halls rated as "good" regarding their acoustical quality it has been shown that these are localized in narrow partial volumes within the centers of the room type clusters. At the DAGA 2018 this approach was extended by investigating additional room types and by comparisons of the spatial positions of several halls before and after renovations. In the present paper, this method will be shown to serve as a valuable tool obtaining new scientific insights as well as being a helpful planning tool: For the room type "concert hall" the historical development is analyzed from the beginnings to the 21 st century yielding characteristic trajectories across the parameter spaces clarifying the evolutionary trends as well as geographical differences. The immediate practical advantage of the method described here as a consulting and design tool will be demonstrated by application to orchestral rehearsal rooms.

Recent advances in the study of room acoustics are formidable. The m odern understanding of the behaviour of sound in rooms now allows for much more freedom and confidence in design. The design of two new room s will be presented. The first is a 3500 seat Assembly Hall of Jehovah's Witnèsses to be used primarily for speech. It features a terraced floor plan to provide early reflected sound throughout the audience. The second room is a 300 seat recital hall at Conrad Grebel College in Waterloo, Ontario. In this room, special attention has been given to platform acoustics using the recent findings of Gade and Naylor. Both designs demonstrate the practical application of m odern acoustical research. SOMMAIRE D'importants progrès ont récemment été réalisés dans le domaine de l'acoustique des salles. Une meilleure compréhension du comportement du son dans les salles permet d'avoir plus de latitude et un meilleur degré de confiance au niveau de la conception. Le design de deux nouvelles salles est présenté. La première est une salle d'assemblée des Témoins de Jêhovah de 3500 sièges utilisée principalement pour des discours et des allocutions. Elle est formée en terrasses de façon à réfléchir promptement le son d'un bout à l'autre de la salle. La deuxième est une salle de récitals de 300 sièges au Collège Conrad Grebel à Waterloo en Ontario. Dans cette salle, une attention spéciale à été donnée à l'acoustique du théâtre, sur la base des récents résultats de recherche de Gade et Naylor. Ces deux modèles démontrent le potential d'application pratique de la recherche moderne en acoustique des salles.

In the north of Sweden, three new concert halls have been built in the last few years. The three halls are; Studio Acusticum in Pitea (2007), Kulturens hus in Lulea (2007) and Norrlandsoperan in Umea (2002). The Acoustics of the halls have been designed by Tunemalm Akustik. There are noticeable differences between the halls. Studio Acusticum is a multipurpose concert hall where the variable acoustics is realized by a height adjustable ceiling and absorbing curtains. Variable volume is an unusual solution, which permits good acoustics without many of the drawbacks normally associated with multipurpose halls. Kulturens hus is also a multipurpose hall, but here the variable acoustics is realized by variable absorption. The walls can be changed from reflective to absorptive by a system of motor driven panels. The acoustic properties of the ceiling can also be changed. To attain very short reverberation times, absorptive curtains can be lowered on the stage and side walls. Norrlandsopera...

Last summer the newly built conservatory for music of Amsterdam was delivered. The conservatory has 5 lar ger halls. The primary use of these halls is rehearsal and exams. They are also used for musical performances. The ha lls are quite different in order to learn the students to c ope with different acoustics. They range from a hall suitabl e for rehearsal of an symphonic orchestra to a recital ha ll, a hall for jazz and pop and a hall for opera and musical. The acoustics of three halls can, to a certain extend, be adapted to the use of the halls. The acoustics aimed and achie ved and the variation possibilities are subject of this pap er. Furthermore the conservatory has more then 100 educ ation rooms and about 70 study rooms. The acoustics of th ese rooms can, by means of ”cushions”, be adapted to th e lessons scheduled. The needed adaptability was pred icted by means of experiments together with students and tea chers in a mock-up of ”new rooms” in the former conservatory build...

Contemporary architects should consider themselves lucky to be able to create in this era. Until recently, both drawing and building construction were highly difficult in terms of geometry. As "architects draw what they can build and build what they can draw," 1 the ability to design and build complex geometry 2 based buildings was a luxury limited to a small number of architects and projects in which time and money were of less concern. It is only in the last decade that assimilation and implementation of the use of new software and hardware computer tools and methods have made possible a proliferation of complex formal expression in modern architectural design. What began as technology-oriented evolution of design and building methods has brought architects to the position where they can draw and build almost without formal limits. Computer power has been used to design and construct complex form for numerous buildings built during the last two decades. Early examples of such buildings are the Bercy project by Renzo Piano Building Workshop (1993), the Fish project in Barcelona (1993) and the Guggenheim Museum in Bilbao (1997) by Gehry Partners, and the utility building for the Water Pavilion in the Netherlands by NOX (1997). The "new" formalism introduced by these buildings has been contentious right from the start. The configuration of the polemic has focused on the building's exterior, mainly through formalist perspectives of perception and performance. 3 The interior spaces, and more fundamentally, the new experiments in complex geometry in the interior (such as oblique or folded spaces) have been given much less attention in contemporary discourse. This might be explained by architects' emphasis on physical description as opposed to the situation oriented description (of events and effects) that is more appropriate to interior spaces 4

High real estate, construction, and maintenance costs frequently preclude the creation of single purpose facilities for musical performance. Multi-purpose facilities are conceived that typically present a nominal acoustic suited to the most common use. However, this may be too reverberant for spoken word and not reverberant enough for choral music. To address this, active acoustics can be employed to provide a wide range of reverberation time change. As a result, orchestras are now performing in contemporary churches and choirs are sharing the stage with theater companies. How are these musical forms being served? A survey of preferred acoustical ranges will be presented for speech, reproduced sound, reinforced music, and acoustic music genres. Examples of venues that utilize active acoustics to widen their performance palette will include a worship space, performing art center, and experimental music studio. Their acoustic performance will be compared with archetypal acoustic music...

At the beginning of the twenty-first century, Greece is found deep into a crisis, both economic and social. In an effort to deal with its devastating effects, many contemporary playwrights attempt, just like their predecessors who found themselves in similar circumstances, a risky “return to the past.” They resort to subjects already exhausted and venture a style revival, hoping to revitalize the past and also inform the present. In more ways than one we could claim that History in their plays turns into an alibi for confronting a reality that appears to be both threatening and incomprehensible.

Two coupled volume halls for music has been accomplished in Oslo the last year where we have been acoustical consultants. Scene II (two) is a 440 seat multi purpose hall in the new Oslo Opera. The ‘Ridehuset’ is a refurbishment of an old building to a rehearsal room and 230 seat concert hall for the Staff Band of the Norwegian Armed Forces (FSMK). Both auditoria have coupled volumes and variable absorption. In spite of being very different rooms and shapes, they share some acoustical properties we would like to address.