Seeing Noise Magazine

DECEMBER ISSUE  

Rhythm 60

Line 4

Color 25

Form 39

Space 30

Light 14

Shape 34

Texture 9

Balance  44  

Mass  57  

Emphasis  54  

Harmony  49   Principles

Elements

What We’re All About 2  

Rhythm  60  

Propor=on  65  

Scale  68  

TABLE OF CONTENTS  

Color 25

Proportion 65

Texture 9

Elements Line 4

Scale 68

Light 14

Emphasis 54

Harmony 49

Space 30

Form 39

Mass 57

Shape 34

Balance 44

About The Editor 3

WHAT

Branching  out  beyond  the  typical  home  and  business  design,  our  magazine  is  an  escape  into  the  fast  paced  environment  of  concert  and  event  venues,  night  clubs,  and  raves.    

 We  are  here  to  combine  the  love  of  design  with  a  passion  for  music  and  adrenaline  

induced  atmospheres.    

These  places  not  only  create  visual  astonishment,  but  create  ambience  that  

contribute  to  sounds  and  feeling.      

As  technology  evolves,  sound  systems,  ligh=ng,  music,  building  materials,  ideas,  and  design  concepts  are  improving  and  becoming  more  crea=ve  and  eccentric,  adding  to  the  

overall  experience  of  these  venues.      

We  are  here  to  break  down  standard  design  elements  and  principles  and  apply  them  to  

this  unique  experience.    

LETS  GO.    

If it weren’t for the fact that I looked like a perfect mix of traits between my mother and father, even I would believe I was adopted. Growing up in a house where both of my parents had no sense of style, color, or artistic abilities, I stuck out like a sore thumb. I had a natural artistic interest even as a young child. I began to take up my interest in color and design and learn about it more until I finally began to step up to the plate and make up for the lack of style in our house. My mom began to trust my instincts and let me design room after room, giving me a budget, and letting me experiment with furniture styles, colors, fabrics, everything.

As I got older my interest in a new kind of art began to flourish; music. Music began to become a huge part of my past time, between searching for new artists, attending concerts, everything. Music could describe how I was feeling whether it be with the words, sounds, melody, or rhythm. It started to play a part in my art because I would always listen to music as I painted or drew and I would find inspiration within what I was hearing. As I started going to more concerts of different genres, I would observe how the different types of music would effect the atmosphere and the people around me. For example, country concerts would create a relaxed, carefree feeling while rap and dubstep concerts would create a hyped up energetic atmosphere. I always feel like all of my senses are being catered to, not just my hearing and seeing. No matter what kind of music it was, I loved how everyone’s energy would feed off into the crowd around them and how my adrenaline would skyrocket. Music truly brings everyone together.

During concerts, I always get caught up in the different venues and how they are set up and designed. There is so much work that goes into the different lighting, sound effects, and stage set-up, as well as designing well thought out places for seating, concessions, and merchandise stands. Some of the venues in Maryland, where I live, are very creative and fascinating. This got me thinking about other venues around the country and world not only for concerts but for night clubs, bars, and other large events. It is a whole new type of design that combines two of my greatest loves, design and music. I decided to combine the two into this magazine that is appropriate for any music lover, adrenaline junkie, raver, or anyone just looking for a little twist on the typical idea of interior design and architecture.

ABOUT THE EDITOR:

Emily Feege

LINE: Curved Tightly

This tightly curved structure of this concert venue creates a fun, festive atmosphere. This

gives the idea that some sort of entertainment happens inside

of this building. It draws attention because of its unique

shape in comparison to the buildings and landscape around it, as well as its reflection onto

the water.

LINE: Horizontal

The horizontal lines in this night club create a relaxed atmosphere. They create many different visual layers by drawing the eye to different heights such as seating, tables, the bar, and the upper level

LINE: Vertical

The tall vertical pillars draw the eye upward. This creates a

feeling of a large open space. They also instigate a feeling of

energy and power.

LINE: Curved Flowing The curving structure of this night club gives this space

a sense of vast movement. Each curve separates a designated space from another, but connects them at

the same time.

TEXTURE: Surface Quality Real

Red Rocks Amphitheater in Colorado is a famous concert venue that is built right into the natural red rock masses that can be found in Colorado. These rocks have a very prominent texture as they are natural and even the seating has

been carved out of the rock.

 Implied  Texture  TEXTURE: Implied Texture

The light and colors on this wall make it look as if the wall is endless like outer space. This is implied

texture because if one were to

actually touch the wall it would be a solid mass but the

way it was designed makes it

seem as if it is untouchable.

Non  Reflec=ve  

TEXTURE: Non Reflective

The texture of the wall behind the bar as well as the ceiling and the bar itself, are

not made of a reflective material although the design makes it seem that way by the way the ceiling and the

bar are similar.

Reflec=ve    TEXTURE: Reflective The mirrors on the wall reflect the rest of the room,

making the room seem larger. Also the mirrors reflect the light in the room, making it brighter than if the wall

did not have the mirrors on the wall.

LIGHT: Art

The lighting in this night club booth accentuates and focuses on the art over the booth that would otherwise be dark and harder to see if the lights were not

there.

LIGHT: Task

The lights on the bar as well as the lights over the bar are considered task lighting because

they allow customers to know where to go for drinks as well as allow them to see in an area where communication

with other people usually takes place.

LIGHT: Track

The lighting on this stage is considered track lighting because it is on a track and able to move.

LIGHT: Soffit

The blue lighting around the outer edge of the room is considered soffit lighting because it is located on the edge of the wall and ceiling.

LIGHT: Natural This is considered natural lighting because there

is no artificial light except for the sunlight.

LIGHT: Colored

Raves such as this one usually have an assortment of bright colored lights. They create eccentric illusions and interesting effects.

LIGHT: Uplighter        

     The  lights  in  this  event  tent  are  on  the  ground  poin=ng  upwards,  (or  uplighter  ligh=ng),    

reflec=ng  light  off  of  the  roof  of  the  tent  and  making  an  interes=ng  

color  and  ligh=ng  effect  .  

LIGHT: Combustion

Combustion lighting can be anything from fire to fireworks.

Here is an example from outside of a large concert hall. The bright explosive lighting lights up the whole crowd.

LIGHT: Floor Lamps

The floor lamps between these table serve as both

a heat lamp and as warm mood lighting for

the tables.

The table lamps in this night club are human head-like

figures sitting on top of clear tables the light continues up through the

light of the table.      

LIGHT: Table Lamps

COLOR: Monochromatic

Monochromatic means different tones of the same color. This restaurant booth is monochromatic because of the numerous tones of purple.

COLOR: Analogous

Analogous colors are colors that are in a triangle on a the color wheel such

as orange, blue, and green.

COLOR: Direct Complimentary

Red and Green are across from each other on the color wheel. This makes these lights complimentary colors.  

COLOR: Triad Complimentary

Red, Yellow, and Greene form a triangle on the color wheel. These form a triad complimentary.

SPACE: Positive Space

The mass of blocks that create this

colorful, bright night-club, also

creates a positive space.

SPACE: Negative Space

The  alcove  in  this  nightclub  creates  sea=ng  for  the  guest.  This  alcove  

is  nega=ve  space.  

SPACE: Crowding Territoriality

This concert venue is designed to hold hundreds of people. There is barely any space for anyone to move . This is an

example of “crowding territoriality”. Many concert venues must be able to hold many

people conveniently.

SHAPE: Geometric

Geometric shapes are simple, 2- dimensional shapes. The outside of this concert venue consists of many geometric triangles and rectangles that overlap to make a colorful design.

SHAPE: Abstract

The  triangles  in  this  restaurant        walkway  are  put  together  in  a  unique    way  that  creates  abstract  paYerns  and  

 designs  on  the  wall.      The  triangles  put  together  even  form  new,  abstract,  undefined,  shapes.  

SHAPE: Natural/Organic

The wavy shapes that make up this ceiling, and blend into the

stone wall, are very natural and give the feeling of being underground. Although the materials are not natural or

organic, the shapes contribute to the natural underground atmosphere.

SHAPE: Dynamic

This stage is an “inflatable sound form” that is portable and delivers outstanding sound. The fact that is is portable and inflatable makes this stage an innovative and dynamic way to host a concert in any convenient spot.

FORM: Geometric

This concert hall is a combination of many simple geometric squares and rectangle “blocks” that form together and appear to be balancing and sitting on top of one another.

FORM: Natural

The outer shell of this bar is made out of wood, as well as the table and chairs inside. The light colored wood looks very natural. The pattern of the wooden

shell resembles a bee-hive honeycomb and the overall shape of it resembles a hollow tree or log,

both of which that can be found in the woods and in nature.

FORM: Non-

Objective

This event venue is considered a non- objective form because it is not a specific shape or any particular design. It does not have any particular purpose or symbol to imply a message or meaning to the design.

FORM: Abstract

The structure of this night club is very

abstract because of the

multiple abstractedly

shaped columns, walls, and platforms all throughout

the room.

BALANCE: Structural Symmetry This event venue

is exactly the same on both sides of the

massive room both structurally and decoratively. If you were to cut the room in half, it would be visually

the same no matter what side

you look at, making this room

symmetrical.

BALANCE: Visual

Symmetry

The picture in the middle of the bar, the shelves and contents of the shelves, the chairs, and the objects on the bar are all contributing to the visual symmetry in this bar.

If you were to slice this picture in half, the sides would match up perfectly with the other, with the exception of the different facial features the two different figures have in the painting hanging directly in the middle.

In a parking garage built underneath a popular event building, asymmetrical shapes painted in high contrast black and white stripes with glowing green windows, decorate and reflect the unique structure found just above the parking garage, The abstract shapes and inconsistent pattern of structure make theses objects Asymmetrical.

BALANCE: Visual Asymmetry

BALANCE: Visual Radial Symmetry

This  ornate  glass  window  ce  

The tables and free standing walls are set-up in a semi circular shape, creating an implied semi-circle line on the other half of the room that you can not

see in the picture. The beams on the ceiling radiate outward from the circular structure

hanging in the center of the room, complimenting and setting off the radial symmetry the tables and

chairs create on their own.

HARMONY: Variety Through Color

Lights are a huge part of any

concert, but for dubstep concerts, techno concerts, and raves, lights are a crucial part

of the overall experience.

The lights at these events are designed to connect your

sense of hearing to your sense of

seeing and heighten the energetic and otherworldly

ambiance. Lights tend to be a wide variety of colors.

HARMONY: Variety Through Materials

A mix of plastics, metals, fabric textures, as well as colors leaves this night club inspired by the old television show “Thatcher” is the perfect example of variety through materials.

HARMONY: Unity Through Shape

The rectangular pattern of wood on both sides of this concert hall envelope and serve as a contrast to the main stage. The main stage is smooth and a lighter color of wood while the outer walls are darker and have more of a rough disrupted texture due to the wooden squares.

HARMONY: Unity Through Line

The structural and decorative horizontal lines of this night club

give the illusion of one giant, winding, white line, connecting

the room together.

Emphasis  

EMPHASIS: Focal Point- Structural

The structure of this concert hall is made so that every seat is facing the stage that completes the outside

circle of this round building, and is the focal point of this structure. Not only that, there is a large screen and

different colored lights by the stage, as well as a massive circular installation that is hanging in the

middle of the building, directing the eye to the center.

FOCAL POINT

EMPHASIS: Focal Point - visual

This techno/dubstep artist is the focal point of this concert. Millions of people are looking at a

large stage with one man standing in the center. Not only is he the only man on stage, he is the artist that everyone in

the crowd wants to see. He is the focal point of

this concert both visually and literally.

MASSING: Optical Density

The lights on this stage shoot out a thin, but strong jet of water that appears to be colored. The higher up the water goes in the upward jet, the more gravity pulls the water particles further apart.

As the water unravels, the different jet streams begin to intertwine, making it appear to be a very dense water type “fog”, even though the lights are placed numerous feet apart.

MASSING: Actual Density

It is not an illusion that this concert venue has a very dense and lively crowd. This is actual density, made up of hundreds of people that

are close together in an energetic atmosphere.

RHYTHM: Transitional/Flowing

The architecture in this rave space contains large amount of dramatic curvature and

abstract shapes. Different designated areas in this space are not obviously transitional

or marked. They are implied by the different heights and shapes of the

structure. You can see that the lower area could be used for dancing, a place to sit, or

an area to sell drinks or other things.

The different patterns and textures in this small music lounge contrast while creating a certain vintage and relaxed atmosphere. It is very unique and the contrasts make the room very eclectic.

The contrasting, bright, red on the stage is very commanding, and it suggests that musical performances are the main purposes and sources of entertainment for this room.  

RHYTHM: Contrast

RHYTHM: Climatic

This stage is set up in the middle of a beautiful mountainous, wooded area. It is an outside venue, so climate affects concerts and musical shows that are held here.

RHYTHM: Repetitive

This concert hall is completely covered with repetitive lines. One

half of the building contains striped lines, while the other half keeps a consistent grid-like pattern, which

is made of glass and enables people to see inside.

PROPORTION: Objects NOT in Proportion with

Space

This stage is in a large, open space, but if you look carefully, the stage is taller than the trees behind it and is made extremely large so that it can fit the millions of people that attend this music festival in Germany each year.

PROPORTION: Object in

Proportion with Space

This stage is proportional when compared to the size of the venue that it is built inside of. It is a large venue but the stage is large as well, so it is not excessively huge or too small.

SCALE: Symbolic Scale

These red artificial tree decorations are on a large, inhuman scale, because they are so much larger than the average human. They are in symbolic scale because they are obviously trees, but they are of an excessively large size.

SCALE: Human Scale

“Buildings scaled to human physical capabilities have steps, doorways, railings, work surfaces, seating, shelves, fixtures, walking distances, and other features that fit well to the average person.”

Although this club has a unique design, the tables are still in human scale because they are a practical, normal size for humans.

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