The conceptual stance of the collaboration between composer Lutz Glandien and architect Malte Lueders did not develop in a theoretical space, but was formed during their concrete work on the installations.
Their starting point was the question of the link between architecture and sound, between the spatial and the temporal and their different materiality. These were constantly explored on the fault line of the contradiction between both disciplines "... to formulate spaces as transitory, permeable and fluid as music; to create sounds as visible, tangible and spatial as architecture. At the same time to create a density that completely links space and sound through the shared physical qualities of both arts.
The synergetic effects sought were found in transparent materials such as water and Plexiglas. Water offers, through its materiality, the possibility of depicting in waveform the temporariness of music, yet it endures in space and time. Its transparency links sound and light. Its optic kinship to glass not only consolidates the synthesis of materials, but at the same time works as a mediator between the installation, its surroundings and its visitors. This ephemeral binding of materials, construction, participants and environment constitutes the main connecting thread in the collaboration between these two artists.
In the sound installation Koerperwellen Wellenkoerper audible sound is depicted spatially twice: visible on the surface of the water, tangible in the vibration of the planks. The relations of light, reflection and space significantly influence the intimate constellations of perception offered by the installation.
In the installation Klangfluss Flussklang the sound travels from one lens to the next upstream, against the flow of the river. Thus acoustic and spatial waves move against one another. The horizontal counter-movement of different vibrations is balanced and calmed vertically in the reflection of water and sky in the seven lenses.
The sound portal Holle was designed for the arcades of the Berlin State Library and relates to the fountain in the yard. The 180 moving acrylic glass tubes simulate in their structure the falling water of the fountain. The sounds that shower the visitor through the glass tubes were extrapolated from the noises of the water. The sound of the fountain merges with the continuously changing composition. While listening, ones view of the surrounding environment is broken by the glassy verticals of the installation.
(Dr Kersten Glandien)