作品团队(Team)：RUESTUNGSSCHMIE.DE——德国·德累斯顿(RUESTUNGSSCHMIE.DE  Dresden·Germany)

作品名称(Name)：《光谱干扰》(SPECTRAL INTERFERENCE³)

作品理念(Creation Idea)：

声普和光谱之间的类比

声谱和光谱可以表示为一定频率范围内各种波的相互作用。一定范围内频谱中所有频率的总和称为噪声。噪音的频谱可按其频率范围分为不同的颜色(例如红色、绿色、蓝色噪音)。这些频率范围具有某些特征，与它们被命名的颜色相对应：声谱和光谱之间存在相似之处。

红|绿|蓝噪声

本作品由三部分组成。每个部分都涵盖了红、绿、蓝噪声的光谱范围。所有这些光谱都具有特定的属性，上述属性在很大程度上决定了作品各自部分的配色方案、空间效果和声音设计。这些部分被不同颜色光谱之间的相互作用和干涉反复破坏。一种特定的颜色在它各自的部分明显呈现得最多，但并不完全支配它。这就产生了不同力量的动态相互作用。在构图之后，紧张气氛逐渐增加，在顶峰时结束，观众陷入沉默。

红噪声

系统 红噪声是指在有限的频率范围内，功率密度随频率增加而下降的系统噪声。因此，低频是红噪声最主要的特点。

声音 从沉默过渡到不断演变的噪音，伴随着干净有力的声音。声音的节奏结构随着时间的推移越来越明显。

空间 大楼的建筑结构图，特别强调基本的承重元素。外部元素和室内空间体验正在相互转化。室内和外部空间结合在一起，形成对建筑设计基础的多角度感知。

绿噪声

系统 绿噪声被定义为频谱的中频分量。它位于红色噪声和蓝色噪声的主频谱之间。

声音 绿噪声的频谱通常被描述为“自然的基本声音”或“世界的秘密背景噪音”。与此类似的是，使用主要的自然声音，这些声音在缓慢的移动中相互传递，决定了音景。

空间 渐变的有机形状的统一运动界定了场景。软过渡带来巨大的形状，巨大的表面和大型多维几何图案。这与当前建筑元素相互支持、相互作用形成对比。

蓝噪声

系统 蓝噪声类似于红噪声的倒置版本。在有限的频率范围内，其功率密度随频率的增加而增加。换句话说：它的光谱密度与它的频率成正比。因此，高频是蓝噪声最主要的特点。

声音 不稳定的、高频的数字音景占据着主导地位，但其频繁地被快速的节奏变化打断。它的声音设计与自然声音相差甚远，其更数字化、也相当前卫。

空间 体系结构的细节元素得到强调。建筑被分解成几个小的、单一的实体。棱角分明、不稳定的形式和快速运动序列决定了图像序列。

ANALOGIES BETWEEN THE SPECTRA OF SOUND AND LIGHT

the spectrum of sound and light can be illustrated as the interplay of a variety of waves  in a certain frequency range. The sum of all frequencies in a given spectrum is called noise. the spectrum of noise can be divided into colours depending on its frequency range (e.g. red, green and blue noise). these frequency ranges have certain  characteristics that correspond to the colours they are named after: there is an analogy between the spectra of sound and light.

RED | GREEN | BLUE NOISE

the composition consists of three parts. each of them represents a spectral range of sound and light – red, green and blue noise.  All of these spectra have specific attributes, which significant determine the colour scheme, spatial effect and sound design of the respective part of the composition. the parts are repeatedly broken up by interactions and interferences between the different color spectra. a specific color is clearly most present in its respective part, but does not completely dominate it. this creates a dynamic interplay of diverging forces. The composition follows a steadily growing build-up of tension, which ends appruptly at its peak and leaves the audience in silence.

RED NOISE

SYSTEM Red noise refers to any system where power density decreases with increasing frequency over a finite frequency range. Low frequencies are accordingly the most dominant.

SOUND Cross-fade from silence into evolving noisescapes, in connection with clean and powerful sounds. rhythmic structures are getting more and more present over the time.

SPACE The architectural structure of the building is illuminated, with particular emphasis on the basic load-bearing elements. Exterior elements and interior spatial experiences are morphing into each other. Interior and exterior spaces are combined into an multiperspective perception of the buildings architectural design fundamentals. 

GREEN NOISE

SYSTEM Green noise is defined as the mid-frequency component of the frequency spectrum. it lays between the main frequency spectrum of red and blue noise.

SOUND The sound spectrum of green noise is often described as the ‚basic sound of nature’ or ‚the secret background noise of the world’. In analogy to this, the use of primarily organic sounds, which are transferred into each other in gentle movements, determine the soundscape.

SPACE Uniform movements of morphing organic shapes define the scene. Soft transitions lead through monumental shapes, huge surfaces and large multidimensional geometrical patterns. This is contrasted by the emphasis of mutually supportive interactions of the present architectural elements.

BLUE NOISE

SYSTEM Blue noise is similarly like an inverted version of red noise. Its power density increases with increasing frequency over a finite frequency range. In other words: its spectral density is proportional to its frequency. High frequencies are accordingly the most dominant.

SOUND Restless, high-frequency digital soundscapes, frequently interrupted by rapid rhythmic changes, are dominant. The sound design is very far away from organic sounds and seems rather digital and edgy. 

SPACE Detail elements of the architecture are emphasized. The building is broken down into small, singular entities in several steps. Angular, restless forms and fast motion sequences determine the image sequences.

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