DOCSLIB.ORG

Digital Fabrication: Manufacturing Architecture in the Information Age

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Fabrication: Manufacturing Architecture in the Information Age Section 4 Modeling and Fabrication Digital Fabrication: Manufacturing Architecture in the Information Age Branko Kolarevic University of Pennsylvania, USA Abstract This paper addresses the recent digital technological advances in design and fabrication and the unprecedented opportunities they created for architectural design and production practices. It investigates the implications of new digital design and fabrication processes enabled by the use of rapid prototyping (RP) and computer-aided manufacturing (CAM) technologies, which offer the pro- duction of small-scale models and full-scale building components directly from 3D digital models. It also addresses the development of repetitive non-stan- dardized building systems through digitally controlled variation and serial dif- ferentiation, i.e. mass-customization, in contrast to the industrial-age para- digms of prefabrication and mass production. The paper also examines the implications of the recent developments in the architectural application of the latest digital design and fabrication technolo- gies, which offer alternatives to the established understandings of architectural design and production processes and their material and economic constraints. Such critical examination should lead to a revised understanding of the historic relationship between architecture and its means of production. Keywords Digital Fabrication, Computer-Aided Manufacturing, Digital Construction 268 2001: ACADIA Digital Fabrication: Manufacturing Architecture in Branko Kolarevic the Information Age 1 Introduction 2 Fabrication “Integrating computer-aided design with computer-aided The continuous, highly curvilinear surfaces that fabrication and construction [...] fundamentally redefines feature prominently in contemporary architecture the relationship between designing and producing. It elimi- brought to the front the question of how to work nates many geometric constraints imposed by traditional out the spatial and tectonic ramifications of such drawing and production processes—making complex curved non-Euclidean forms. For many architects, shapes much easier to handle, for example, and reducing trained in the certainties of the Euclidean geom- dependence on standard, mass-produced components. [...] It bridges the gap between designing and producing that opened etry, it was the issue of constructability that brought up when designers began to make drawings.” into question the credibility of spatial complexi- ties introduced by the new “digital” avantgarde. - W. Mitchell and M. McCullough in Digital Design Media However, the fact that the topological geometries The Information Age, like the Industrial Age be- are precisely described as NURBS (Non-Uni- fore it, is challenging not only how we design form Rational B-Splines) and thus buildings, but also how we manufacture and con- computationally possible also means that their struct them. In the conceptual realm computa- construction is perfectly attainable by means of tional, digital architectures of topological, non- computer numerically controlled (CNC) fabrica- Euclidean geometric space, kinetic and dynamic tion processes, such as cutting, subtractive, addi- systems, and genetic algorithms, are supplanting tive, and formative fabrication, which are described technological architectures. Digitally driven de- in more detail in this section. sign processes characterized by dynamic, open- ended and unpredictable but consistent transfor- 2.1 2D Fabrication mations of three-dimensional structures are giv- CNC cutting, or 2D fabrication, is the most com- ing rise to new architectonic possibilities monly used fabrication technique. Various cut- (Kolarevic 2000). The generative and creative ting technologies, such as plasma-arc, laser-beam, potential of digital media, together with manu- or water-jet, involve two-axis motion of the sheet facturing advances already attained in automotive material relative to the cutting head and are imple- and airplane industries, is opening up new dimen- mented as a moving cutting head, a moving bed, sions in architectural design. The implications are or a combination of the two. In plasma-arc cut- vast, as “architecture is recasting itself, becoming ting an electric arc is passed through a compressed in part an experimental investigation of topologi- gas jet in the cutting nozzle, heating the gas into cal geometries, partly a computational orchestra- plasma with a very high temperature (25,000F), tion of robotic material production and partly a which converts back into gas as it passes the heat generative, kinematic sculpting of space,” as ob- to the cutting zone (Figure 1). In water-jets, as served by Peter Zellner in “Hybrid Space” (1999). their name suggests, a jet of highly pressurized water is mixed with solid abrasive particles and is It was only within the last few years that the ad- forced through a tiny nozzle in a highly focused vances in computer-aided design (CAD) and com- stream, causing the rapid erosion of the material puter-aided manufacturing (CAM) technologies in its path and producing very clean and accurate have started to have an impact on building design cuts (Figure 2). Laser-cutters use a high-intensity and construction practices. They opened up new focused beam of infrared light in combination opportunities by allowing production and con- with a jet of highly pressurized gas (carbon diox- struction of very complex forms that were until ide) to melt or burn the material that is being cut. recently very difficult and expensive to design, There are, however, large differences between produce, and assemble using traditional construc- these technologies in the kinds of materials or tion technologies. The consequences will be pro- maximum thicknesses that could be cut. While found, as new digitally driven processes of design, laser-cutters can cut only materials that can ab- fabrication and construction are increasingly chal- sorb light energy; water-jets can cut almost any lenging the historic relationship between archi- material. Laser-cutters can cost-effectively cut tecture and its means of production. material up to 5/8”, while water-jets can cut much 2001: ACADIA 269 Section 4 Modeling and Fabrication thicker materials, for example, up to 15” thick ti- vals, are produced automatically by modeling soft- tanium. ware from a given form and can be used directly The production strategies used in 2D fabrication to articulate structural components of the build- often include contouring, triangulation (or polygo- ing, as was the case in a number of recently com- nal tessellation), use of ruled, developable surfaces, and pleted projects (Figures 3 and 4). unfolding. They all involve extraction of two-di- Complex, curvilinear surface envelopes are often mensional, planar components from geometrically produced by either triangulation (or some other complex surfaces or solids comprising the planar tessellation) or conversion of double-curved into building’s form. Which of these strategies is used ruled surfaces, generated by linear interpolation depends on what is being defined tectonically: between two curves (Figures 5 and 6). Triangu- structure, envelope, a combination of the two, etc. lated or ruled surfaces are then unfolded into pla- In contouring, a sequence of planar sections, often nar strips, which are laid out in some optimal fash- parallel to each other and placed at regular inter- ion as two-dimensional shapes on a sheet (in a process called nesting), which is then used to cut the corresponding pieces of the sheet material using one of the CNC cutting technologies. For example, Frank Gehry’s office used CATIA soft- ware in the Experience Music Project in Seattle to “rationalize” the double-curved surfaces by Figure 1. Plasma-arc CNC cutting of steel supports for masonry walls in Frank Gehry’s Zollhoff Towers in Dusseldorf, Germany (Rempen 1999). Figure 3. Structural frames in Frank Gehry’s Experience Music Project in Seattle, produced by contouring. Figure 2. Aluminum space frame for ABB Architects’ BMW Pavilion is cut directly from digital data using CNC water-jet Figure 4. Structural framework for Bernard Franken’s BMW technology. Pavilion produced by bi-directional contouring. 270 2001: ACADIA Digital Fabrication: Manufacturing Architecture in Branko Kolarevic the Information Age converting them into “rule-developable” surfaces, of excessive curvature as there are limits as to how which were then unfolded and fabricated out of much the sheets of metal could be bent in two flat sheets of metal (Linn 2000). directions; the same technique was used on other The surface data could be also used to directly projects by Gehry (Linn 2000). The analysis pro- generate a wireframe abstraction of the building’s duced a colored image that indicated through vari- structural framework, which could be then pro- ous colors the extent of the surface curvature (Fig- cessed by the structural analysis software to gen- ure 7). erate the precise definition of all structural mem- 2.2 Subtractive Fabrication bers. In Gehry’s Bilbao project the contractor used Subtractive fabrication involves removal of speci- a software program from Germany called Bocad fied volume of material from solids (hence the to automatically generate a comprehensive digi- name) using multi-axis milling. In CNC (Com- tal model of the structural steel, including the puter Numerical Control) milling a dedicated brace-framed and secondary steel structures for computer system performs the basic controlling the museum (Stephens 1999).
Load more

Recommended publications
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 the Robert Menschel Architecture and Design Gallery, Third Floor
    Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 The Robert Menschel Architecture and Design Gallery, third floor Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways. The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines. Organized by Pedro Gadanho, Curator, Department of Architecture and Design, The Museum of Modern Art Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America.
    [Show full text]
  • Press Release Frank Gehry First Major European
    1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh.
    [Show full text]
  • Final 2011-12 Winter Chronological Listings
    WALT DISNEY CONCERT HALL 2011/12 CHRONOLOGICAL LISTING OF EVENTS SEPTEMBER 2011 LOS ANGELES PHILHARMONIC Tuesday, September 27, 2011, at 7 PM -OPENING NIGHT GALA- Walt Disney Concert Hall OPENING NIGHT GALA (Non-subscription) Gustavo Dudamel, conductor Herbie Hancock, piano GERSHWIN Cuban Overture GERSHWIN An American in Paris GERSHWIN Rhapsody in Blue The gala evening benefits the Los Angeles Philharmonic Association. LOS ANGELES PHILHARMONIC Friday, September 30, 2011, at 8 PM Walt Disney Concert Hall Gustavo Dudamel, conductor ADAMS Short Ride in a Fast Machine STRAVINSKY SympHony in C BERLIOZ Symphonie fantastique OCTOBER 2011 LOS ANGELES PHILHARMONIC Saturday, October 1, 2011, at 8 PM Walt Disney Concert Hall Sunday, October 2, 2011, at 2 PM Gustavo Dudamel, conductor ADAMS Short Ride in a Fast Machine STRAVINSKY SympHony in C BERLIOZ Symphonie fantastique GREEN UMBRELLA Tuesday, October 4, 2011, at 8 PM Walt Disney Concert Hall LA Phil New Music Group Otto Tausk, conductor DI CASTRI La forma dello spazio for solo violin FELDMAN Viola in My Life Nos. 1 and 2 TAKEMITSU Rain Coming HAAS new work (U.S. premiere, LAPA commission) LOS ANGELES PHILHARMONIC Thursday, October 6, 2011, at 8 PM Walt Disney Concert Hall Friday, October 7, 2011, at 11 AM Saturday, October 8, 2011, at 8 PM Sunday, October 9, 2011, at 2 PM Gustavo Dudamel, conductor Janine Jansen, violin MENDELSSOHN Hebrides Overture MENDELSSOHN Violin Concerto MENDELSOHN SympHony No. 3, “ScottisH” BAROQUE VARIATIONS Tuesday, October 11, 2011, at 8 PM Walt Disney Concert Hall
    [Show full text]
  • Designing and Manufacturing Architecture in the Digital Age KOLAREVIC, Branko University of Pennsylvania, USA
    Go contents 05 Designing and Manufacturing Architecture in the Digital Age KOLAREVIC, Branko University of Pennsylvania, USA http://www.upenn.edu/gsfa The paper describes and examines the implications of the recent developments in the architectural application of the latest digital design and fabrication technologies, which offer alternatives to the established understandings of architectural design and production processes and their material and economic constraints. It offers a possibility of a revised understanding of the historic relationship between architecture and its means of production. Keywords: Digital design, digital fabrication, CAD/CAM. Introduction industries, is opening up new dimensions in “Having abandoned the discourse of style, the architectural design. The implications are vast, as architecture of modern times is characterized by “architecture is recasting itself, becoming in part an its capacity to take advantage of the specific experimental investigation of topological geometries, achievements of that same modernity: the partly a computational orchestration of robotic material innovations offered it by present-day science and production and partly a generative, kinematic sculpting technology. The relationship between new of space,” as observed by Peter Zellner in “Hybrid technology and new architecture even comprises Space” (1999). a fundamental datum of what are referred to as It was only within the last few years that the avant-garde architectures, so fundamental as to advances in computer-aided design (CAD) and
    [Show full text]
  • Houses Undergoing Psychoanalysis: Gehry's Residence, Venturi's Mother's House and Johnson's Glass House
    Houses Undergoing Psychoanalysis: Gehry's Residence, Venturi's Mother's House and Johnson's Glass House Ruth Palmon Bachelor of Architecture Bezalel Academy of Art and Design Jerusalem, Israel, 1997 - Submitted to the Department of Architecture in Partial Fulfillment of the requirements for the degree of Master of Science in Architecture Studies At the Massachusetts Institute of Technology June 2002 © 2002 Ruth Palmon. All Rights Reserved The Author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author: Department of Architecture May 23, 2002 Certified by: Julian Beinart Professor of Architecture Thesis Supervisor Accepted by: Julian Beinart Professor of Architecture MASSACHUSETTS INSTITUTE Chairman ,Department Committee on Graduate Students OF TECHNOLOGY JUN 2 4 2002 ROTCH LIBRARIES Mark M. Jarzombek, Associate Professor of History and Architecture, Reader. Beatriz Colomina, Professor of History and Theory of Architecture, Princeton University, Reader. 2 Houses Undergoing Psychoanalysis: Johnson's Glass House, Venturi's Mother's House, and Gehry's Residence. By Ruth Palmon Submitted to the Department of Architecture on May 23, 2002 in Partial Fulfillment of the requirements for the degree of Master of Science in Architecture Studies ABSTRACT The objective of this thesis is to explore the relationship between the self and the house. In approaching the subject, my assumptions were that the basic condition of the house-self relationship is of tension and animosity and that architectural design, following a psychoanalytical tendency to reduce tension, is used to improve this condition. When great amounts of energy and care are invested in this process, the narrative of tension and its resolution is brought to the surface through architectural drawings.
    [Show full text]
  • J. Carter Brown 1996 Laureate Sverre Fehn Ceremony Speech
    J. Carter Brown 1996 Laureate Sverre Fehn Ceremony Speech Your Excellency, distinguished guests, and ladies and gentlemen. The man who starts the program can’t introduce himself, but Bill Lacy is the Executive Director of the Pritzker Prize and has been so helpful to our Jury. I have a wonderful Jury, and the Pritzker Prize is very fortunate to have such a distinguished and international group, and I would like simply to introduce them to you here tonight. Only one of our number could not be here tonight, but he was here yesterday, Giovanni Agnelli, Chairman of Fiat, who is from Italy. Many people think he is Italy, and he had to go back. But we do have from Tokyo, Toshio Nakamura. Toshio, do you want to stand? The Chairman of the Graduate School of Design at Harvard, who started life in Argentina, of Italian ancestry, Jorge Silvetti. Ada Louise Huxtable is a byword in the architectural firmament for critical excellence, having been the architecture critic of the New York Times, Ada Louise. Charles Correa of Bombay, India, is in his own right a winner of the gold medals of the International Union of Architects and the Royal Institute of British Architects, as well as the Aga Khan Prize, and is a great intellectual and connoisseur. I would be remiss if I didn’t point out one other juror who is not currently on the Jury but used to be. His name is Frank Gehry. As you know, this fabulous building is not only a work of art. One, at least, of its functions is to be a setting for great works of art.
    [Show full text]
  • In 2021, Philadelphia Will Emerge from the Pandemic with So Much to Look Forward To
    CONTACTS: Cara Schneider (215) 599-0789, [email protected] WHY PHILADELPHIA IS THE MUST-VISIT DESTINATION OF 2021 2021 Brings An Outdoor Version Of The Philadelphia Flower Show, Major Jasper Johns Exhibit, New Independence Mall Attraction & An Upgrade To Valley Forge National Historical Park Visitor Center PHILADELPHIA, January 19, 2021 – Good things happen in Philadelphia, according to Condé Nast Traveler, recently naming Philadelphia one of eight must-visit destinations in the world for 2021. The popular magazine joined Travel + Leisure, Esquire, Frommer’s and others in raving about Philadelphia recently. The takeaway? Philadelphia should be on travelers’ 2021 must-visit lists thanks to a slate of openings, expansions and first-ever happenings, along with its iconic history, vast open spaces, resilient restaurant scene, cool neighborhoods and diverse hotel offerings. In 2021, Philadelphia will emerge from the pandemic with so much to look forward to. In May, Independence Mall will welcome its newest attraction: the Faith and Liberty Discovery Center. In June, the PHS Philadelphia Flower Show will move outdoors for the first time in its 192-year history. And in the fall, the Philadelphia Museum of Art, fresh off the unveiling of its Frank Gehry-designed renovation, will mount an exhibition of works by Jasper Johns, which will occur alongside a mirror exhibition at the Whitney Museum of American Art in New York City. Hotel openings include the city’s first W Hotel and a boutique property in a National Historic Landmark building, the Guild House Hotel. “In 2021, there are potentially 120 million domestic trips up for grabs, and 10% of these trips are from residents who live in northeast drive markets*,” says Jeff Guaracino, president & CEO, VISIT PHILADELPHIA®.
    [Show full text]
  • Steidl WWP SS18.Pdf
    Steidl Spring/Summer 2018 3 Index Contents Artists/Editors Titles Adams, Shelby Lee 63 1968 99 Paris Reconnaissance 113 3 Editorial 81 Orhan Pamuk Balkon Adams, Bryan 93 200 m 123 Paris, Novembre 95 4 Index 85 Christer Strömholm Lido Adolph, Jörg 14-15 42nd Street, 1979 61 Park/Sleep 49 5 Contents 87 Guido MocaficoLeopold & Rudolf Blaschka, The Bailey, David 103-109 8 Minutes 107 Partida 51 6 How to contact us Marine Invertebrates Baltz, Lewis 159 Abandoned Moments 133 Pictures that Mark Can Do 105 Press enquiries 89 Timm Rautert Germans in Uniform Bolofo, Koto 135-139 Abstrakt 75 Pilgrim 121 How to contact our imprint partners 91 Sory Sanlé Volta Photo Burkhard, Balthasar 71 Andreas Gursky 69 Poolscapes 131 93 Bryan Adams Homeless Callahan, Harry 151 Asia Highway 167 Printing 137 95 Sze Tsung, Nicolás Leong Paris, Novembre Clay, Langdon 61 B, drawings of abstract forms 25 Proving Ground 169 DISTRIBUTION 97 Shelley Niro Cole, Ernest 157 Bailey’s Democracy 104 Reconstruction. Shibuya, 2014–2017 19 99 Robert Lebeck 1968 7 Germany, Austria, Switzerland Collins, Hannah 149 Bailey’s East End 108 Regard 127 101 Andy Summers The Bones of Chuang Tzu 8 USA and Canada Davidson, Bruce 165 Bailey’s Naga Hills 109 Seeing the Unseen 153 103 David Bailey’s 80th Birthday 9 France Devlin, Lucinda 147 Balkon 81 Shelley Niro 97 104 David Bailey Bailey’s Democracy All other territories Dine, Jim 113 Ballet 145 Stories 5–7, Soweto—Dukathole—Johannesburg David Bailey Havana Edgerton, Harold 153 Balthasar Burkhard 71 129 105 David Bailey NY JS DB 62 11 Steidl Bookshops Eggleston, William 37-41 Binding 139 Structures of Dominion and Democracy 73 David Bailey Pictures that Mark Can Do 13 Book Awards 2017 Elgort, Arthur 145 Bones of Chuang Tzu, The 101 Synchrony and Diachrony, Photographs of the 106 David Bailey Is That So Kid Fougeron, Martine 119 Book of Life, The 63 J.
    [Show full text]
  • Carnegie Hall Rental 1/8/13 4:35 PM Page 1
    1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 1 Friday Evening, January 25, 2013, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents What Makes a Masterpiece LEON BOTSTEIN, Conductor ANTONÍN DVORÁKˇ Symphony No. 4 in D minor, Op. 13 Allegro Andante sostenuto e molto cantabile Allegro feroce Allegro con brio HEINRICH VON Symphony No. 1 in C minor, Op. 50 HERZOGENBERG (U.S. Premiere) Adagio—Allegro Adagio, ma non troppo Allegro agitato Allegro Intermission JOHANNES BRAHMS Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 2 THE Program ANTONÍN DVORÁKˇ Symphony No. 4 Born September 8, 1841, in Nelahozeves, Czechoslovakia Died May 1, 1904, in Prague Composed January 1–March 26, 1874, in Prague, revised in 1887–8, Premiered April 6, 1982, in Prague Performance Time: Approximately 38 minutes Instruments: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion (triangle, cymbals, bass drum), harp, and strings HEINRICH VON HERZOGENBERG Symphony No. 1 Born June 2, 1843, in Graz, Austria Died October 9, 1900, in Wiesbaden, Germany Composed in 1885 Performance Time: Approximately 42 minutes Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, and strings JOHANNES BRAHMS Symphony No.
    [Show full text]
  • Curated by Nico Muhly Soundbox
    FOCUS CURATED BY NICO MUHLY SOUNDBOX 1 “The theme of this SoundBox is Focus, a notion I’m trying to explore in various senses of the word.” —Nico Muhly 2 Esa-Pekka Salonen SAN FRANCISCO SYMPHONY MUSIC DIRECTOR San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile conducting roles and work as a leading composer, shaped a unique vision for the present and future of the contemporary symphony orchestra. Salonen recently concluded his tenure as Principal Conductor & Artistic Advisor for London’s Philharmonia Orchestra and he is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in Los Angeles, where he developed and directs the pre-professional Negaunee Conducting Program. Salonen is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. Salonen co-founded— and from 2003 until 2018 served as the Artistic Director for—the annual Baltic Sea Festival. 3 The Orchestra Esa-Pekka Salonen, Music Director SECOND VIOLINS CELLOS Michael Tilson Thomas, Music Director Laureate Dan Carlson, Principal Vacant, Principal Herbert Blomstedt, Conductor Laureate Dinner & Swig Families Chair Philip S. Boone Chair Daniel Stewart, San Francisco Symphony Youth Helen Kim, Associate Principal Peter Wyrick, Associate Principal Orchestra Wattis Foundation Music Director Audrey Avis Aasen-Hull Chair Peter & Jacqueline Hoefer Chair Ragnar Bohlin, Chorus Director Jessie Fellows, Assistant Principal Amos Yang, Assistant Principal Vance George, Chorus Director Emeritus Vacant Vacant The Eucalyptus Foundation Second Century Chair Lyman & Carol Casey Second Century Chair FIRST VIOLINS Raushan Akhmedyarova Barbara Andres Alexander Barantschik, Concertmaster David Chernyavsky The Stanley S.
    [Show full text]
  • The Ucla Medal Recipients, 1979 - Present (Chronological)
    THE UCLA MEDAL RECIPIENTS, 1979 - PRESENT (CHRONOLOGICAL) 1979 Special Ceremony, Golden Year Celebration, September 16, 1979 William Coit Ackerman ’24, UCLA pioneer, coach John E. Canaday ’27, former president, UCLA Alumni Association, UC regent 1980 Special Ceremony, Charter Day, March 2, 1980 J.D. Morgan ’41, director, Intercollegiate Athletics Commencement, June 15, 1980 Gordon H. Ball, professor, zoology Joseph Kaplan, professor, geophysics Earl J. Miller, professor, economics Flora Murray Scott, professor, botanical sciences Marion A. Zeitlin, professor, Spanish Special Ceremony, Reception in Honor of Byron Atkinson, September 29, 1980 Byron Harry Atkinson ’40, M.A. ’50, Ed.D. ’60, administrator 1981 Commencement, June 21, 1981 Warren Minor Christopher, attorney and diplomat Shirley Ann Mount Hufstedler, attorney and judge William Polk Longmire, Jr., founder, UCLA department of surgery 1982 Commencement, June 20, 1982 Simon Ramo, co-founder of TRW Richard Callender Maxwell, former dean, UCLA School of Law Dorothy Buffum Chandler, arts patron and UC regent 1983 Commencement, June 19, 1983 Tom Bradley ’41, mayor, City of Los Angeles Elinor Raas Heller, UC regent Laurence Olivier, actor David Stephen Saxon, president emeritus, University of California 1984 Commencement, June 17, 1984 Anna Bing Arnold ’40, philanthropist and humanist Franklin David Murphy, UCLA chancellor emeritus Isaac Bashevis Singer, author and Nobel Prize recipient 1985 Commencement, June 16, 1985 Carol Burnett ’54, actress Edward William Carter ’32, businessman and UC regent John Robert Wooden, former UCLA men's basketball coach Page 1 of 10 UCLA Special Events and Protocol • 10920 Wilshire Boulevard, Suite 1520 • Los Angeles, CA 90024 THE UCLA MEDAL RECIPIENTS, 1979 - PRESENT (CHRONOLOGICAL) 1986 Commencement, June 22, 1986 Robert Howard Ahmanson ’49, president, Ahmanson Foundation John Hope Franklin, historian William W.
    [Show full text]