Melting Ice/Changing Winds: Dance and Music of Climate Change continues the collaboration between choreographer Jody Sperling and composer Matthew Burtner, both acclaimed for their creative engagement with climate. The program features the premiere of Wind Rose, visualizing and sonifying winds patterns that are changing dramatically along with the earth’s atmosphere. Wind is the breath of […]
Facing the ever-growing self-optimization delusion that fuels our inner critic non-stop, it is quite comforting to fall back on the Japanese idea respectively Zen-inspired concept of “Wabi-Sabi”.
Wabi-Sabi describes the art of Imperfect Beauty – accepting peacefully the natural cycle of growth and decay (as well as cycle of life & death), in which everything has beauty.
It is simple, slow and uncluttered, and it reverse authenticity above all. Finally, it is the imperfection that make up uniqueness and individuality. Just perfection can be copied, if perfection exists at all.
Wabi-Sabi celebrates cracks (e.g. see the pic of bowl with gold-filled cracks), crevices and all the other marks that time, weather and loving use leave behind.
It reminds us that we are all just transient beings on this planet and that we will return to dust at the end like the entire material world.
Wabi-sabi is not just a Concept, but also an aesthetic and a worldview.
Simply, an intuitive way of Living reflecting the Japanese “mindfulness culture” and in particular “yugon”.
The latter stands for an awareness of the universe that triggers deep emotional responses impossible to express verbally.
Translated literally wabi means lonely, miserable and feeling lost. Just in combination with the term: sabi the meaning is uncovered – being old, mature and showing patina.
Not the obvious beauty is the ideal but hidden (covered up) beauty. Harsh simplicity that reveals appeal / charm to understanding/knowing people (like Connaisseur in French) and nobless hidden in the envelop of unimpressiveness is regarded as true beauty.
In den Wäldern drüben, tief unter der Last des Schnees, ist letzte Nacht ein Pflaumenzweig erblüht.
In the woods over there, deep under the weight of the snow, a branch of plum blossomed last night.
Hanami (short-living cherry blossom on trees that don´t grow cherry fruits) but also plum blossom arms are symbols for transience and therefore, also for a young, honorable dead – traditionally among Samurai but also in general related to seppuko (suicide to save one`s Honor and the one of the family, which is still practiced today).
Well, I don´t want to let you go with dark thoughts…in the contrary!
Please, keep in mind you are perfectly imperfect. Outside beauty is by far less valuable than the inner one. Stay pur and authentic, just be you.
And if someone is really interested in you, he/she will be empathic and will take her/his time to get to know you and recognize you – uncovering your beauty. You´ve deserved such kind of special person – who cannot be fooled by polished, shiny surfaces – because you are truely beautiful.
“Location, outstanding acoustics and a visionary concert programme.”
The Elbphilharmonie with its impressive glass facade and wave-like rooftop rises up from the former Kaispeicher building on the western tip of the HafenCity. Accommodated inside are two concert halls, a hotel and 45 residential apartments. Between the old warehouse and the glass structure is the Plaza – a public viewing area that extends around the whole building.
“Elphi” belongs to the TOP 5 concert halls worldwide thanks to its outstanding acoustics. After 9 years of construction and investments in the amount of €789 mio. the innovative landmark of the harbor city Hamburg – also called “The Gate to The World” or “Pearl” – was finally completed.
The Location – The Elbphilharmonie is located in the historic Sandtorhafen, which was Hamburg’s old working harbour for centuries. The Kaiserspeicher, Hamburg’s biggest warehouse on the water, was built in 1875. Destroyed in the Second World War, it was then rebuilt and renamed Kaispeicher. Cocoa, tobacco and tea was stored here until the 1990s.
The Plaza – At a height of 37 metres above ground level, the public viewing area offers visitors a spectacular 360° view of the city and harbour. Hamburg citizens, tourists, concertgoers and hotel guests are all welcome to take a stroll along this unique walkway.
The Glass Facade – The defining feature of the Elbphilharmonie: 1,000 curved window panels, tailor-made to capture and reflect the colour of the sky, the sun’s rays, the water and the city, turn the concert hall into a gigantic crystal. The glass facades in the loggias of the apartments and concert foyers are especially striking: with their boldly convex form they resemble huge tuning forks.
The Grand Hall, the heart of the Elbphilharmonie, has seating for 2,150 guests. In contrast to conventional concert halls, the stage is located in the centre of the hall, while the audience is seated on tribunes around the stage. This “vineyard-concept” that was invented by the architects of Herzog & de Meuron, ensures that each guest enjoy a direct view to the stage without any obstacles. Each visitor is seated in a distance of max. 30 m to the conductor. The highest seat is located 17 metres above the stage.
The Acoustics – The leading acoustics expert Yasuhisa Toyota faced the challenge to ensure not only top-notch but a superior acoustic experience for Elphi`s guests. Toyota’s goal for the Elbphilharmonie Grand Hall: the hall should assist the natural acoustics of the music but also be sensitive to electronic sound systems. In this way, audiences can also enjoy rock concerts in the Elbphilharmonie.
Toyota invented the so called “White Skin” of the concert hall. The White Skin is a surface which consists of 10.000 wall panels. Each single panel is highly customized. The unique design of each panel optimally breaks the sound at the very specific position of the panel. The panels are 35 – 200 mm thick and possess a weight of 150 kg / qm to optimize the acoustics – considering the thumbrule: The bigger the mass, the better the reflection of the sound. The intelligent, sophisticated sound concept also ensures the optimal reverberant sound time of 2 seconds. Therefore, the guests of the Elbphilharmonie are able to enjoy a very clear, differentiated sound and an amazing 3-dimensional impression.
Among professional musicians, it is said that you are able to hear everything – even all the failures…
The Recital Hall – In contrast to the Grand Hall, the Recital Hall is designed in the classic »shoebox« style. An elegantly milled wooden panelling supplies a perfect acoustic. Both the Grand Hall and the Recital Hall of the Elbphilharmonie are acoustically autonomous spaces that are completely detached from the rest of the building. Massive steel spring elements perfectly buffer the concrete shell of each respective hall from the outside world. No ships’ sirens will ever penetrate these spaces, and not even the sound of a loud trombone ensemble will escape to the outside.
The Kaistudios – Housed in the Kaispeicher warehouse, the Elbphilharmonie’s wide-ranging music education programme offers concerts for children and families, a holiday programme, workshops and more. Many years ago, goods were loaded from ships directly into the warehouse using cargo hatches. Some of the cargo hatches have been now been given a new purpose as balconies, for example, the balcony in Kaistudio 1. A further six Kaistudios complete the music education wing and are used as rehearsal rooms, backstage and foyer rooms, and house for the »World of Instruments«.
The Music – Variety, quality and accessibility are primary criteria by which the Elbphilharmonie measures its musical profile. As a concert hall of the 21st century, engaging in animated dialogues with classical music masterpieces is as much in focus as the discovery of new sounds. The Elbphilharmonie plays host to acclaimed soloists and orchestras from around the world; at the same time, innovative festivals, experimental formats and concert series outside of the traditional classical music programme will break new ground here.