Radio DEEVAAR - EP 06 - THE GATE - Manual PDF

‫مثل زمان ابن سینا که آدم ها از ایران با یک دانش‬ ‫بدست آورده‪ ،‬راهی دیار بلخ و بغداد و… میشدند تا به‬ ‫کسب دانش و تجربه دست یابند‪ .‬دیوسال نیز اکنون‬ ‫در حال جست و جو است‪ .‬در برلین و اشتوتگارت ‪ ،‬در‬ ‫ناپولی و رونشان ‪ ،‬جست و جویی ماجراجویانه به سمت‬ ‫آنچه به آن ایمان دارد و آن را با سنجه های کنجکاوانه‬ ‫در تاریکی می پیماند‪ .‬راکد نماندم تا مرداب شوم‬ ‫‪.‬سعی بر شنا بر خالف مسیری باشم که آسان بود‬

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Architecture and Music, though seemingly different disciplines, share a deep connection in their essence. Both are tools to shape and define space, to evoke emotions, and to guide experiences. As architect Lebbeus Woods once reflected, ‘Architecture is not merely about creating buildings; it’s about constructing ideas, visions, and ultimately, spaces within the mind.’ In a similar way, techno music transcends the auditory. It becomes a medium to construct spaces—spaces that we first perceive mentally, long before they manifest physically. we can explore the boundaries of space, the beats of techno music navigate the intangible realms of our consciousness.

These beats are not just sounds; they are the architectural elements of an auditory space, capable of transforming our mental landscape. They challenge our perceptions, distort reality, and build new worlds within our minds. Through this process, techno becomes a conscious tool — a blueprint for creating the spaces I have always envisioned.

Daniel Libeskind , Chamberworks Drawings, 1983 This set of 28 drawings was created by Daniel Libeskind during the years in which he served as the head of the Architecture Department at Cranbrook Academy of Art in Bloomfield Hills, Michigan. The drawings explore the relationship between music and architecture in an architectonic and graphic point of view and have been influential in his later designs.

Daniel Libeskind , Chamberworks Drawings, 1983

Daniel Libeskind , Chamberworks Drawings, 1983

Daniel Libeskind , Chamberworks Drawings, 1983

Daniel Libeskind , Chamberworks Drawings, 1983

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E L E C T R O N I C . S O U N D

In the realm of electronic music production, particularly within the techno genre, the process of creating and mixing tracks is akin to constructing a complex auditory space. Each track is broken down into its elemental components—such as the kick, bass,drums, melody, and vocals, etc —each serving a specific role in shaping the overall sonic environment. The precision and detail with which these components are handled are crucial, as they work together to create a cohesive and immersive listening experience.

Ableton interface - Shapes in electronic sound

Ableton, a widely used digital audio workstation (DAW), plays a central role in this process. Its interface allows producers to isolate, manipulate, and reassemble individual elements of a track with unparalleled control. For example, the kick drum might establish the foundational rhythm, while the bass provides depth and structure, and melodic sequences add texture and atmosphere. By controlling these elements with precision, producers can craft intricate soundscapes (spaces) where each component contributes to the overall auditory architecture.

The ability to manipulate these elements with such accuracy allows for a deep exploration of the spatial dynamics of sound.

This process is not just about creating a piece of music; it’s about designing an auditory environment that engages the listener on multiple levels. Through the careful arrangement and layering of sounds, a track can transcend mere rhythm and melody, evolving into a richly textured space that listeners can inhabit mentally and physically.

DEEVSAAL uses electronic beats to shape and craft auditory spaces. Architects sketches were not merely preparatory drawings for buildings, but profound explorations of the human condition, space, and time. In the same vein, techno music for me is a way to sketch with sound—a conscious act of creation that can shake the body and mind alike.

Techno, with its precise, repetitive rhythms and loops, parallels the architectural process. It is both structured and fluid, capable of both grounding us and pushing us to transcend our physical surroundings. In every beat, there lies the potential to construct new dimensions of space—spaces that resonate within, echoing our mental journeys. Through techno, I am not merely creating music; I am building the spaces I have always wanted to create, where the boundaries of physical and mental landscapes blur, and where architecture and sound become one.”

Ableton interface - DEEVSAAL - DOOR Track

Ableton interface - DEEVSAAL - ALLAH MADAD Track

Ableton interface - DEEVSAAL - ALLAH MADAD Track

- LIVE SET TAB

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BUILT

PROJECT STRAUSSI SUMMER FEST

DEEVSAAL - Straussi 3 Summer Fest Opening SET

DEEVSAAL - Straussi 3 Summer Fest Opening SET

DEEVSAAL - Straussi 3 Summer Fest Opening SET

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Marco Fusinato. Mass Black Implosion (Shaar, Iannis Xenakis). 2012.

Marco Fusinato. Mass Black Implosion (Shaar, Iannis Xenakis). 2012.

SoundTales Collage by Mads Emil Nielsen

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Altes Museum Berlin . Karl Friedrich Schinkel

James Stirling, Sketch Plan, Staatsgalerie, Stuttgart, Germany, 1977.v

Staatsgalerie, Stuttgart, DEEVSAAL 2023

Atelier Leitner - Cross Sound Body 1985

Atelier Leitner - Sound Space Tu Berlin 1984

Bernhard Leitner: Sound Spaces

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UPCOMING ROOM

Nevigeser Wallfahrtsdom , Gottfried Bohm - DEEVSAAL

Nevigeser Wallfahrtsdom , Gottfried Bohm - DEEVSAAL

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S O M E W H E R E . I N > B E R L I N EYE OF HORUS

Somewhere in Berlin

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‫رویین تن‬ AAMMAANAA

Sepide Elmi , Berlin , The Feuerle Collection 2024

Sepide Elmi , Berlin , Untitled 2024

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THE GATE

The Gate Project is a critical exploration of spatial repetition and the continuous loop of choice. At its core, the project revolves around the binary decision of selecting between two doors, each choice leading to the opening of yet another pair of doors.

(For more detailed information about this project, please refer to the link provided below.)

My engagement with the techno genre stems from a deep fascination with the power of loops, which closely aligns with the conceptual framework of The Gate. The repetitive nature of techno loops resonates with the mental architecture I’ve envisioned, where sound becomes a medium to articulate spatial experiences.

I approach sound as a form of drawing—a method of architectural expression. While traditional architectural practice relies on ink and paper to convey ideas, The Gate challenges this norm by translating mental spaces into auditory loops. Through this process, I aim to craft a unique, resonant environment that engages the audience on a deeper level, using sound as a tool to visualize and inhabit the architectural space of this project both the mind and body.

THE GATE - DEEVSAAL

Adope Premiere interface - RADIO DEEVAAR , THE GATE Video Art

In this process, I approach sound production much like architectural drafting. Before producing the sounds and mixes, I create a series of drawings that serve as diagrams mapping out the connections between loops. These diagrams, akin to blueprints, guide the structure of my live performances, which are then recorded and published on YouTube.

For instance, in the mix I created for The Gate project, I began by sketching a framework that would translate the project’s spatial concepts into sound. The mix starts with a foundational track, layered with a vocal sample in English that aligns with the thematic structure of the project. This sets the tone for the first loop, which gradually builds in intensity. As the mix progresses, I introduce a second loop, carefully blending it with the first until they coexist, creating a dense, immersive soundscape. This layered, evolving loop can persist for several minutes, drawing the listener deeper into the experience.

At a crucial point, I strip away the first loop, allowing the second to dominate the space. Then, I subtly introduce a third loop, continuing this cyclical process until the end of the set. The result is a series of loops and sonic spaces that are hypnotic and repetitive, mirroring the endless cycle of choice and repetition within The Gate project.

My goal is to create an auditory experience that, much like the architectural concept, has no definitive end. The listener, like a visitor to The Gate, becomes enveloped in a loop of sound, caught in a perpetual cycle that echoes the spatial repetition at the heart of the project.

MIXING LOOPS Diagram - DEEVSAAL

MIXING LOOPS Diagram - DEEVSAAL

MIXING LOOPS Diagram - DEEVSAAL

Sketches - DEEVSAAL

Sketch - DEEVSAAL

House of Balenciaga Project Sketch - DEEVSAAL

‫است‬ ‫گیم‬ ‫ویدیو‬ ‫یک‬ ‫مانند‬ ‫زندگی‬ ‫نیستم‬ ‫مطمئن‬ ‫آن‬ ‫چیز‬ ‫هیچ‬ ‫از‬ ‫تنها چیزی که به آن مطمئنم این است که‬ ‫نمیدانم در اتاق بعد ‪ ،‬کدام در را باز میکنم‬