, and will be open to the public through December 30th.
The difference between experiencing biological time and technical time is a reflection on an existing problem in society. In a hospital, these two times come together and collide. Biological time is the personal rhythm of both employees and patients. Technical time is witnessed in the strict schedule of the hospital, necessary to facilitate the complex set of actions that take place in a highly technological surrounding. But our bodies, which are the focal point of the hospital, live in a strong connection with the biological rhythm.
Some illnesses are caused in part or exacerbated by the rhythm of time in the western world. Within the medical world, time is used more and more as a solution, as in the case of chronotherapy. But still a hospital functions mainly according to technical time – visitor times, staff shifts etc.
As designer it is therefore interesting to introduce biological time to the hospital environment, where technical time is dominant. The biological rhythm is visible outside the hospital: trees, plants and animals all live outside the rhythm of technical time. Most hospitals are positioned at the borders of cities, where urban environments meet the rural surroundings, rich in biodiversity. Biological rhythms depend on the changing of the seasons. They often influence illnesses; light, temperature and other factors influence the progress of an affliction.
As a designer I intend to introduce these natural rhythms, so they can become part of the hospital’s system. On the border of inside and outside, the hospital façade, biological rhythms can be given space and visibility. It directly links actions inside and outside the hospital, and allows outside rhythms to be experienced by the patient in his bed, connecting technical and biological times of both zones.
Can the biological rhythm be introduced into the hospital in a meaningful way, without entailing chaos?
I want to attach nest boxes to hospital facades. These nest boxes provide space for animals, living according to biological time. By making biological time visible from within the highly technical hospital, synchronization can take place and attention is drawn to differences between the rhythms.
The nest boxes are of specific dimensions according to species and position on the hospital building. As the hospital itself is divided by departments, interesting overlaps and collisions can take place.
By Eveline Visser
Anticipating Kangding Rayʼs forthcoming album, due this winter, comes Pruitt Igoe – a 4 track EP on which both Alva Noto and Ben Frost have been invited by Kangding Ray to produce sonic variations on a contemporary architectural myth.
The EPʼs title Pruitt Igoe is taken from a gigantic social housing project, completed in 1955 in the U.S. City of St Louis, Missouri, and often regarded as a symbol of the modernist architecture failure. Designed according to the principles of modernism, and by the same architect who would later build the World Trade Center, the project saw a disastrous and violent decline after only a few years, plagued with vandalism and massive criminality, leading to its complete destruction from 1972 onwards. Footage of its demolition are visibly featured in the 1983 movie “Koyaanisqatsi”, scored by Phillip Glass.
Pruitt Igoe is more than a post-modern icon, it represents an ancestral movement of hope and disillusion, of perfectly planned models and evaporated dreams. It serves as a judicious metaphor for our era, where the feeling of imbalance and doubt has replaced the certainity of eternal progress and endless economical growth.
This movement is reflected by the two sides of the record: on the A side, the original track and its remodel by Alva Noto, both represent the planning and construction phase, based on a clear structure and a hypnotic loop of women chanting in the streets of a small town in North India. On the B-side, Ben Frost and Kangding Ray undertake the demolition process – slicing beats, destroying structures and emphasising the beauty of collapse.
Audiovisual Performance / Custom Software
Sample from upcoming new live show and series of audiovisual collaborations.
In italian the term “Partitura” is used to describe the written representation of music, literally the musical score. This is a system which represents aurally perceived music, through the use of visual written symbols… The project Partitura aims in creating a metaphor to translate aurally perceived music back into a visual representation. Taking inspiration from traditional musical notation and its horizontal scheme, Partitura creates constantly-moving linear environments where abstract geometries visualise sound.
Creative Direction: Quayola
Software Development: Mondi Excerpt Preview 3, 4
Sound: John Richards, Max De Werner
Piano: Will Dutta