Lorenzo Brusci (born 1966) is an Italian sound-experience and sound space designer, based currently between Krakow (Poland) and Berlin (Germany). He studied Philosophy and Philosophy of Music at the Florence and Siena University. An overview of his compositional work can be found at www.soundcloud.com/lorenzo-brusci , at http://www.timet.org and www.lorenzobrusci.com
Since late 90′s Brusci started exploring the implications of dynamic sound and music space design within landscape and architecture, with the experimental music team Timet before (www.timet.org), then with the Giardino Sonoro project (www.giardinosonoro.com) and the SED studio – Sound and Experience Design – in Berlin and Krakow (late 2008). In 2009 He founded with Lorenzo Coppini Architettura Sonora (www.architetturasonora.com), as a division of B&C Speakers.
To control and materialize the abstract forces of mechanical and electroacoustic technology through B&C experience and know-how, resulted into a systematic development of many of the shapes and experience design concepts he had developed since the Giardino Sonoro and SED times. His continuous research and his resourceful approach to experience design allows him to constantly push new boundaries in space and product design, creating and inspiring some of the most interesting innovations in the audio and technology design industry. In 2013 he finally founded with composer and music engineer Simone Conforti MUSST, Multisensing Space Studio, (www.musstdesign.com): Sensorial Space Design and Algorithmic Music at its more advanced and challenging stages.
Brusci has been a guest speaker and visiting professor at various schools, workshops and institutions including among others Siena University, Florence University, Politecnico University in Milano, Chelsea College of Art and Design in London, The Art Academy in Krakow, the Instituto Europeo di Design (IED) in Milan, the Architecture Triennale in Krakow, the Music Biennale in Venice, Royal College of Arts in London, ZHdK University – Zürcher Hochschule der Künste in Zurich, the Attakkalari Biennal master classes in Bangalore, the Lebanese University and the Jesuit University in Beirut.
In the early 90’s he was the founder and the intellectual engine of the music open team Timet , a network of music professionals investigating compositional and perfomative techniques for non-linear music and assisted composition and improvisation. In those years Brusci used to design live music actions performed by musicians often assisted-while-improvising, following (his) physical and gestural instructions or embedding instructions directly on tape-music soundscapes (see the results of these practices on Cicli di Sintesi, Quadri di Schermo Vivo, Colazione con la Pietra).
In the mid 90’s Brusci continued experimenting on themes related to non-linear music, exploring different kind of symbolic inter-languages:
intra-musical – ‘live music-gestural instructions’ conducting ‘music actions’: i.e. “Madame Butterfly”, conducted by composer Ikue Mori; similar experiments too place, featuring musicians as Jamie Saft, Matthew Ostrowski, Stefano Bollani, Mirko Guerrini, Frank Shulte and Enrico Rava; or extra-musical – ‘graphical or choreographic performances’ conducting ‘live musicians’ interpretations’: i.e. “Partitura Viva” with choreographer Raffaella Giordano/Sosta Palmizi.
Brusci simultaneously radicalized the integration of real musicians/players with free-form “sample music ” and electronic sound articulations (La via Negativa, Shadows – featuring singer and performer Andrea de Luca). In music works Restituzioni (1999), Carne Capitata (2000), Zarathustra (2001), Musica Leggiadra (together with performer Letizia Renzini) (2003), Metamorfosi di Canzoni Napoletane (2005), Brusci’s virtualization of ‘musician-musician’ interplay and ‘musicians-electronics’ interplays, made of his post production techniques a real compositional tool.
Musicians involved in Timet, among others, Stefano Bollani, Mirko Guerrini, Andrea Melani, Ares Tavolazzi, Roberto Andreucci, Fabio Provazza, Fabio Baini, Mirio Cosottini, Letizia Renzini, Enrico Gabrielli, Mariposa, Marco Parente, Alessandro Fiori, Tonino Miano, Frank Shulte, Andres Bosshard, Michele Balduzzi alias Phonat, Daniele Pianigiani). In parallel, Brusci continued is open-data approach to music composition and metacomposition (see the explorable database of elementary compositional material, interacting with (and transfiguring a) wide range of music traditions (ww.timet.org) – i.e. the EasyClassics project and the e-published collective work, produced with the title Compilatione).
In early 2000 Brusci’s research focuses more and more on the potential of immersive sound space design and on how immersive sound spaces could help naturalizing complex music forms and the wider body of music heritages – see the “Klangturm project”, (under the direction of Andres Bosshard) Biel, Swiss Expo, 2001; “Ospite Ingrato “, Firenze – a site specific art installation curated by Achille Bonito Oliva and Sergio Risaliti, 2003. The same approach he shared and introduced in his Theatrical and Contemporay Dance compositions (among others, for Raffaella Giordano, Ariella Vidach, Giorgio Rossi, Bruno de’ Franceschi). Many have been the collaborations in the fields of Television and Radio: RAI, BBC, RTSI, RSI, RADIO RAI 2 and 3.
Giardino Sonoro and Sound and Experience Design
The immersive sound space design experiments carried out between 2001 and 2003, can be considered a methodological turning point.
Brusci started realizing he needed to use less standardized loudspeakers and sound control systems, new sound modules able to variously interact with architecture and its dimensional and material features. He then started prototyping environmental and architectural sound modules -with a strong commitment to the integration of technology and landscape design- and related immersive and environmental music compositions, characterized by multichannel music design and adaptive contents (i.e. the noise masking project). In 2003 he founded with gardener Stefano Passerotti Giardino Sonoro, a team of Environmental Designers based in Florence. Through their Sonic Garden lab, they carried on experiments and tests for site-specific landscape sound and multisensorial installations, developing a wide collection of sonorous and luminous objects. These elements, together with dedicated garden design items, induced an extension of the ambiance’s capacity to express symbolic contents, thus imparting an altered and dynamic perspective on the Habitat. Lorenzo Brusci and Giardino Sonoro had an exposure at European level with projects like the BBC Gardeners’ World Live Show in Birmingham in 2004; a “Sound Garden“ at the Hampton Court Palace Flower Show in 2005; the International Garden Festival Chaumont sur Loire; “a town for the future” at the Architecture Biennale in Venice; “ Le Jardin Sonore à Paris”, Nuite Blanche 2006; “Un jardin à la toscane experimental” at Printemps de la Mode in Paris, 2006, and “La noche en blanco” in Madrid in 2007. During the Giardino Sonoro and the SED years – Sound and Experience Design (launched in Krakow and Berlin in 2007), Brusci developed a full sound experience design fundamentals, in order to virtualize and multiply through sound space design the perception of any architectural space.
Architettura Sonora At the end of 2008 the time was mature for a deep and electro-acoustically well grounded architectural sound system design, able to be highly spatial and expressive, synthesizing the Giardino Sonoro and the SED experiences into a new generation of environmental sound module design. In 2009 Lorenzo Brusci and Lorenzo Coppini, CEO of B&C Speakers, founded Architettura Sonora, Applied Acoustics, as division of B&C Speakers (www.architetturasonora.com) in order to advance the debate of a new approach to audio systems and its architectural and organic aesthetics. Following to the full industrialization of the Architettura Sonora collections, Lorenzo goes finally back to the pure technology design research and … more.
2013 sees the foundation of MUSST, Multisensing Space Studio (www.musstdesign.com) together with composer and music tecnology designer Simone Conforti. Highly responsive multisensing spaces design is the main focus at MUSST, a team of multidisciplinary professionals dedicated to enhance the distinctive qualities of any architecture, both indoors and outdoors, through a wise sensing space design, conceived as a living and environmental whole, where the expressive power of art is turned into architectural and permanent experience. The sound space design principles driving MUSST are intended to break the static listening culture (the stereophonic one, related to a controlled reproduction of the “concert” experience) and to strongly introduce the IMMERSIVE and MULTI-CENTRIC praxis of listening to music “within a space” as a central condition of the architectural experience. The effort for adaptive and generative music is now the most ambitious challenge at MUSST. See for this www.musicfit.ch where proprietary generative music is applied to the sport domain.
2013 sees also Lorenzo Brusci founding with actor Beniamino Brogi the project Relational Being, REL-BEING (www.rel-being.com). The project is focused on cross-media narratives, mapped in interactive city-maps. Its social communication implications will be explored in the next years. The Italian Swiss Radio bought recently the format for a first cycle of programs on Ticino: Ticino Life Telling was broadcasted in December 2014. Next chapter, Lebanon. The Lebanese University will host a new session of Rel-Being, dedicated to the existing culture of public space and an ideal future Beirut.
On the generative music side, Simone Conforti and Lorenzo Brusci, supported and joined by Valentijn Borghuis and Marcio Ferreira Dos Santos, and the scientific advise of Paolo Frasconi, founded in 2014 MUSICFIT, www.musicfit.ch
New amazing challenges on algorithmic robots for automatic music composition have just started up. Follow their developments.
On the compositional and performing side, Luca Canciello and Lorenzo Brusci founded SYNCHRE 2015 http://www.synchre.com/
Their first work (REQUIEM) is released by Attenuation Circuit – http://attenuationcircuit.de/ – and is going to be released and presented on December 2 2016 in Milano, at GIGANTIC Gallery.
CLIENTS, among Others
Public Greater London Authority (GB), City of London (GB), RHS (Royal Horticultural Socienty, GB), City of Florence (ITA), City of Milano (ITA), City of Venice (ITA), City of Bologna (ITA), City of Paris (FR), City of Cologne (DE), City of Naples (ITA), City of Berlin (DE), City of Krakow (PL), City of Hyderabad (INDIA), City of Bangalore (INDIA), City of Viareggio (ITA), City of Nantes (FRA), City of Le Mans (FRA), City of Marseilles (FRA), City of Madrid (ESP), City of Barcelona (ESP), City of Bilbao (ESP).
Commercial Philips (HOL); Schiphol Airport (HOL); Chuang Consortium (HK) (PRC); Mandarina Duck (ITA); Poltrona Frau Group (ITA); Prada (ITA); B&C Speakers S.p.A. (ITA); Folli Follie (ITA); Andrea Bocelli, Forte dei Marmi (ITA); Raiffeisen Bank (CH); Studio Baciocchi, Architects, Arezzo, (ITA); Zaha Hadid, Architects (GBR); Vladimir Djurovic, VDLA, Landscape Architect, Beirut (LEB); Ab Rogers, Architect (GBR); PLS, Architects, (ITA); Vienrose, Engineering (ITA); Studio 63, Architects (ITA); Rauch Family, Dorbirn (AUT); Darwish Family, Doha (QAT); Tony Salameh, Beirut (LEB); Building and Behavior, St.Gallen (CH); Targetti S.p.A. (ITA); Ernesto De Martino Foundation, Firenze, (ITA); Monte dei Paschi di Siena Foundation, Siena (ITA).
Exhibitions and theaters Triennale Design Museum, 2011, MILANO (ITA); Palazzo delle Esposizioni, 2010, ROME (ITA); Bastille Theatre, 2008, PARIS (FR); Cologne, PLAN 05, 2005 (DE); Milano Furniture Fair, 2007, 2008, 2009, 2010, 2011, 2012, 2013, Milano (ITA); Santa Maria della Scala, museum for modern art, 2010, Siena (ITA); Piccolo Teatro, 2005, MILANO (ITA); KKL, LUZERN (CH); Orizzonti, Forte Belvedere, FIRENZE, 2003 (ITA); Clerkenwell design festival, 2010, 2011, 2012, London (GBR); New Yok Design Week, 2010, 2011, 2012, New York (US); Ars Electronica 2002, LINZ (AUT); MOZAK, Contemporary Art Museum, Krakow (PL); Science Museum, 2002, NAPLES, (ITA); Swiss Expo ‘02, Biel (CH); Attakkalari Festival, 2002, BANGALORE (IND); Moers Festival, 2001, MOERS (DE); Centro per l’Arte Contemporanea Luigi Pecci, 1999, 2001, PRATO (ITA); Castello Pasquini, 2004, CASTIGLIONCELLO (ITA); Teatro Ariosto, Consorzio i Teatri, 2005, REGGIO EMILIA (ITA); Théatre des Bernardines, L’Officina 29, 2005, MARSIGLIA (FRA); Atelier du Rhin, COLMAR, 2005, (FRA); Teatro delle Passioni E.R.T., 2005, MODENA (ITA); Teatro C.R.T., 2005, MILANO (ITA); Teatro Metastasio, 2006, PRATO (ITA); Bonci E.R.T., 2006, CESENA (ITA); de la Bastille, 2006, Paris (FRA); Teatro “REPUBLIC”, 2004, SALZBURG (A); Italian Institute of Culture, 2001, LOS ANGELES (US); Festival de Sitges, 1999, SITGES (ESP); Festival “El Grec”, 1999, BARCELONA (ESP); Fabbrica Europa, 2000, 2001, FIRENZE, (ITA); Musicus Concentus, 1999, 19998, 2000, FIRENZE (ITA); Festival “Segni Barocchi”, 1998, FOLIGNO, (ITA)
Scientific conferences and educational – Lisbon (POR), conference INTERNOISE 2010, invited paper. – Cairo, Egypt, conference ICSV 17, (http://www.iiav.org/archives_icsv/2010_icsv17/papers/830.pdf). Invited paper. – Stockholm (SWE), conference on “Designing soundscape for sustainable urban development”. Invited paper. – Bilbao (ESP), European Symposium on Acoustic Comfort in Urban Design. Invited paper. Lectures, among others: Siena University (ITA); Florence University (ITA); Politecnico University, Milano (ITA); Chelsea College of Art and Design in London (GBR); The Art Academy in Krakow (PL); the Instituto Europeo di Design (IED) in Milan (ITA); the Attakkalari Biennal Media Master classes, bangalore, (IND); the Architecture Triennale in Krakow (PL); the Music Biennale in Venice (ITA); Royal College of Arts in London (GBR); ZHdK: University – Zürcher Hochschule der Künste.