The Spatial Instrumentalist (MPhil/PhD – UCL)
2017 – 2024
PhD Academic Research / In Progress – The Bartlett School of Architecture, UCL
My research investigates spatio-temporal reciprocities between architectural space and performed music. As an architect and musician, I am interested in the simultaneous capacities of architecture to influence the composition and experience of performed music – and of performed music to influence the composition and experience of architectural space. My previous MArch project proposed a series of spaces which behave as instruments and replicate the immersive acoustic character of Venice during the Aqua Alta. My compositions appropriate spaces as musical instruments, by responding to the acoustic qualities of these spaces. When performed, my pieces exploit acoustical phenomena such as reverberance and sympathetic resonance to articulate musical motifs. For example, by using excessive reverberance to construct a harmonic sequence, or by suggesting a rhythm from an echo. When we consider performance spaces to be as acoustically active as the instruments which they contain, ideas surrounding the composition of space and music start to become more pliable. My research promotes a multidisciplinary method of practice which sits within the seams of architecture and music. The resultant work acts as an elastic mediator between the construction of spatial and sonic realms. Keep an eye out below, for updates and discoveries>>
Coming soon..! My image “Multi-Dimensional Orchestral Model” has been selected for the UCL “Research as Art / Art as Research” exhibition! Sneak preview here, but see the full thing at the South Cloisters, Wilkins Building, Gower St, UCL from Monday 23 April 2018!! (vote for me too if you like it!) LINK
Pedro Novo from Max Fordham engineers very kindly showed us around the SoundSpace that he has built!
Check out MF’s BLOG for more.
Ohmygod – we (Sound Making Space) have a Pecha kucha event coming up! Get tickets HERE
Check out my interview with the British Music Collection about being a (female) composer in 2018. LLLLLINK
Broken sketch of new composition.
On Feb 15th I will be running an event at the Bartlett (22 Gordon Street) – featuring composer/conductor Kemal Yusuf and drummer Asaf Sirkis. We will be discussing space and time in the practices of Architecture, Composition, Performance and Conducting!!! Free tickets still available HERE.
The second performance of Device 002 has taken place at Gaudi’s unfinished Sagrada Familia. With thanks to Mark Burry, Dr. Jane Burry, Prof. Jim Barbour, the Australian Research Council and Swinburne University and performers Audrey Wozniak and Theodore Balkwill. More information will emerge in my project page HERE in due course…
Have a read of our pamphlet for the Time Making Space event at the Royal Academy of Arts
I’ll be chairing the discussion at the RA’s “Time Making Space” event – supported by the Bartlett and Sound Making space Doctoral Network. Also my new piece “Device 002 -Tracing” will be performed by violinist Audrey Wozniak and Cellist Theo Balkwill (edit: Malachi Cheverest). More info on special guests Carol Mavor, Stephen Chance and Robin Rimbaud (Scanner) HERE
To have a listen to the latest piece which will be performed at the Royal Academy of Arts AND the Sagrada Familia, Barcelona – have a listen to the MIDI export above (note, this will sound VERY different when played in the actual spaces!!)
Have a listen to the performance by the London Graduate Orchestra of my piece Device 001 – performed at Shoreditch Church as part of the Sound and Music New Voices residency.
My latest article: “The architectural instrumentalist – exploring spatio-temporal interdependence in the composition of performed music and architectural space” has been published in the Design Ecologies peer-reviewed Journal – read it HERE
Been busy this weekend, recording a new EP (DAIS) and preparing for the next LGO workshop!!
Build a desk…
Saw these beasts today:
Built around 1930 as part of an experiment to develop acoustic defenses in the UK, but sadly superseded by radar shortly before the 2nd world war. The sound mirrors made it possible to hear enemy aircraft and pinpoint not only their direction of travel, but also the makes and models of the aircraft. Now they just sit as eerie monuments to an obsolete technology… (Hidden behind a caravan park and thousands of blackberry brambles).
Gets cut tomorrow…
Having a look around:
For future reference…
Testing the tonal limits of all sections of the orchestra:
Bending notes for the 2nd LGO workshop mext month..!!!
Listen to part of the performance with “exploded” ensemble at Shoreditch Church – performed 24th June 2017
Edge to Edge was a success! Thanks everyone who helped, performed, listened and watched! Keep your eyes and ears peeled for videos and audio recordings soon..!
“I’m very interested in the material and acoustic properties of both architectural spaces and musical instruments, and I’m specifically excited by the idea that architectural space can be appropriated to behave as an extension of sound-producing instruments.”
I was recently interviewed by the British Music Collection – see the following link for full article! READ HERE
Please come to the debut performance of “Dorsal Falls” on the evening of June 24th!!! TICKETS HERE: https://goo.gl/q5SKKB
Hey’all – my latest piece: “DORSAL FALLS – A SKETCH FOR A SPATIALISED SCORE” will be exhibited at the Royal Academy Of Arts in London from 13th June – 21st August. Go, check it out. Tickets HERE.
(+more new stuff on the way, shortly… stay tuned)