+ WHO?
Lugh O’Neill
Collaborations:
Temporary Pleasure
??
+ WHAT?
??
+ HOW?
??
GIANTS is a collaborative artistic installation exploring new models for ephemeral music spaces through the intersection of music composition and architectural design, and spatial audio programming. Created with architectural firm Temporary Pleasure, this project addresses the lack of dedicated music venues in urban environments by developing resilient and contemporary approaches to space design.
The project culminates in the creation of an installation, consisting of three-channel video with spatial audio, created from compositions by Lugh O’Neill, performed and recorded in Fingal’s Cave, Scotland, to capture the topographical and mythological context of the location. Based on the above, an architectural design, designed for modularity and adaptability, constructed at BRUTUS Rotterdam, creates an environment that allows the installation to be exhibited and artists to appropriate the space according to their specific performance ambitions.
The exhibition, named An Uaimh Bhinn, presented in collaboration with IFFR (International Film Festival Rotterdam), featured two public events demonstrating the space’s versatility. Artists Kamaru, Elvin Brandhi, Temporary Pleasure’s choreographed performance, and Rat Section each utilized the modular architecture and sound system in distinctive ways, showcasing how the project can foster diverse musical expressions.
The project successfully demonstrates how collaboration between sound spatialisation and architectural design can create innovative spaces for music, offering new possibilities for urban cultural programming.
acoustic ecology, immersive sound, sonic architecture, spatial audio, ephemeral architecture, multi-media performance, modular architecture, geological acoustics, archeological acoustics
Tools and Methodology: Design Methods & Frameworks
The project developed an Interdisciplinary Reciprocal Design Methodology where architectural and sonic design decisions informed each other through iterative feedback loops. Natural, Geological acoustics as well as Sound spatialisation design techniques directly influenced architectural decisions (speaker placement, ceiling heights, material choices), while architectural elements shaped sonic possibilities through acoustic zones and reflection patterns. Both architectural and sonic elements were designed as flexible, reconfigurable modules, with a systematic approach enabling performing artists to reconfigure technical and architectural elements according to their artistic visions.
Some research and development materials from the design process.
Tools and Methodology: Immersive Experiments
The project created a Three-Channel Video with Spatial Audio Installation, featuring real-time calibration of spatial audio within the actual architectural intervention for site-specific immersive experiences. Technical infrastructure allowed for the installation work to become an immersive media apparatus allowing for artists and performers to appropriate and adapt the space to their own needs and intentions, and to manipulate spatial audio parameters during live events, as well as lighting, smoke machines, and screens to create multi-sensory environments. The modular temporary architecture was designed for rapid assembly/disassembly and adaptability due to the use of standard and accessible materials, whilst also maintaining sophisticated acoustic properties and enabling artist reconfiguration.
Diagrams of the spatial audio system and modular architectural design as designed for the exhibition at BRUTUS, Rotterdam.
Collaborations
Temporary Pleasure (Architectural Firm) provided specialized expertise in ephemeral spatial design, construction management, and material procurement. BRUTUS Rotterdam served as host venue and technical production partner, Orpheu de Jong played the very important role of curator thus mediating between different institutions and leading public relations, whilst IFFR provided co-funding and integration into their festival programming and ticketing. C.A.N.V.A.S. music label contributed music and event production expertise. The creation of the installation work included participation of performers Dylan Kerr and Marie Requa Gailey, instrument make Joe Summers, Videographer Paul D’Eath, second camera operator Sekou Abineri, production assistant Victor Dermenghem, costume designer Aoife Adole Akue. Technical collaborations to produce the exhibition included lighting designers, sound technician, color corrector, and documentation team. Artist collaborations for the public program events included Kamaru, Elvin Brandhi, Temporary Pleasure’s performance team, and Rat Section.
Impact
The interdisciplinary methodology proved effective in creating truly integrated architectural and sonic experiences, moving beyond traditional approaches. The modular approach successfully demonstrated that temporary installations could achieve acoustic sophistication typically reserved for permanent venues while adding flexibility and opportunity for more diverse artistic explorations. The project engaged multiple audiences and validated the design’s cultural relevance through successful artistic appropriation of the setting during public events.
GIANTS demonstrates the feasibility of addressing urban cultural infrastructure gaps through temporary, high-quality interventions, offering a scalable and adaptable model for cities with limited permanent cultural venues. The comprehensive documentation creates a replicable model for interdisciplinary collaboration in cultural space design, with potential applications for future venues and cultural infrastructure development.
Applied scenarios & Testing:
A month-long exhibition was held at BRUTUS, featuring the installation work GIANTS, which was punctuated by two distinct live performance events.
The setup consisted of a modular architectural construction, featuring an integrated spatial audio system, lighting, screens, and atmospheric effects. The installation was designed to accommodate both contemplative exhibition viewing and dynamic live performance experience. Therefore, distinct audience types participated: local cultural community both at the exhibition throughout the month as well as for the events, international IFFR festival attendees due to the project’s inclusion on the IFFR festival program, and electronic music audiences via the C.A.N.V.A.S. label collaboration.
The exhibition and events allowed for testing via multiple performance formats – spatialised audio performances (Kamaru, Elvin Brandhi), choreographed dance (Temporary Pleasure performance team), and multimedia performance incorporating video (Rat Section). Each event tested different aspects of the space’s adaptability and technical capabilities, and audience participation and reaction to each. Each artist group successfully adapted the space – electronic artists focused on spatial audio, dance performers utilized architectural elements as performance spaces, multimedia artists integrated screens as integral performance elements.
Performers involved in public program events.
Spatial audio interface for use by external artists to appropriate the space and sound system.
Lessons learned:
Key insights emerged from the practical application of the interdisciplinary methodology. The reciprocal relationship between architectural and sonic design proved most effective when calibrated on-site, with the spatial audio mix requiring real-time adjustment. Artist appropriation of the design was most successful when technical systems were designed with intuitive interfaces, allowing performers to focus on creative expression.
The modular construction approach revealed the importance of intensive on-site collaboration between artistic, architectural and technical teams. The two-week construction period proved essential for fine-tuning the integration between architectural elements and technical systems.
Most significantly, the successful artistic adaptations demonstrated that adaptable cultural infrastructure could serve multiple communities simultaneously, suggesting strong potential for developing urban cultural spaces through such interventions.
GIANTS addresses urban cultural infrastructure gaps through innovative adaptable solutions to creating venues for various and diverse music experiences. Artistically, it demonstrates how collaboration between music composition, sound engineering, sonic arts and architecture can create novel formats and redefine what is required of and possible in the creation of spatial experience. Socially, the project engages various communities through flexible programming that accommodates diverse artistic manifestations within a space. Technologically, it advances spatial audio integration with ephemeral and adaptable architecture, proving that sophisticated audio environments can be rapidly constructed and re-installed.
Adaptability / interoperability:
The modular design methodologies for both the architectural components and the spatial sound software components developed for the installation GIANTS and the An Uaimh Bhinn exhibition, are highly transferable to other contexts. The design approach can be applied to various cultural projects requiring interdisciplinary collaboration beyond music and architecture—including theater, dance, multimedia arts, and community events. The modular construction principles can be scaled to different venues and urban contexts, from small community or DIY spaces to large festival or institution installations. Technical elements like interfaces for spatial audio can integrate with existing venues to enhance adaptability, and are adaptable to different types of performance, as proven during our public program events.
Personal Website
Exhibition wall texts, An Uaimh Bhinn at BRUTUS, Rotterdam
Social Media
Third part online publications
International Film Festival Rotterdam 1