Benjamin Koren used software he wrote, “3D Digital Harmonograph,” to generate the form for a music pavilion.
Benjamin Koren
University College London
Bartlett School of Architecture
© Benjamin Koren.
Jury
Guy Battle
Roger Kallman
Amanda Levete
Jane Wernick
Ross Wimer
This project proposes a music pavilion whose form was generated by software I wrote, the “3D Digital Harmonograph.” This is based on a mechanical device said to visualize musical harmony by drawing apparently spatial graphs. I developed actual 3D single-looping line graphs by adding a dimension, employed Fibonacci number ratios and harmonics thereof, and translated them into proportionate continuous surface-meshes. Each form exhibits intrinsic mathematical properties whose articulation into discrete architectural elements retains the graph’s aesthetic sensibility in spatial form. I considered various forms in response to the brief and advanced one from its abstract roots into a realistic proposal.
Visualizing musical harmony. © Benjamin Koren.
Frequency ratios. © Benjamin Koren.
Variety of forms. © Benjamin Koren.
Main approach. © Benjamin Koren.
Secondary approach. © Benjamin Koren.
Benjamin Koren
University College London
Bartlett School of Architecture
was born in Frankfurt and studied architecture at the University of Miami and the Architectural Association in London. He was awarded a Bronze Medal commendation by the Royal Institute of British Architects for his project “Harmonic Proportion in Amorphic Form: A Music Pavilion in Hyde Park, London.” He went on to work at ARUP’s Advanced Geometry Unit in London and for Herzog & de Meuron in Basel. He founded ONE TO ONE in 2009, a computational design and digital fabrication studio with offices in Frankfurt, Germany, and New York City. ONE TO ONE has collaborated on complex art and architecture projects, such as the Elbphilharmonie by Herzog & de Meuron, the Louvre Abu Dhabi, and Philharmonie de Paris, both by Ateliers Jean Nouvel, as well as sculptures by Jeff Koons and Anish Kapoor.
