The materialization of sound is the main concept of this project. An exercise about the synesthesia between sight and sound, as the result of our research and experimentation in ‘DIALOGO’. 

The materialization of sound is the main concept of this project. An exercise about the synesthesia between sight and sound, as the result of our research and experimentation in ‘DIALOGO’. 

From left: Richard Serra, James Tenney, Steve Reich, Bruce Nauman, and Michael Snow performing Steve Reich`s Pendulum Music. Photo: ©Richard Landry (1969)

From left: Richard Serra, James Tenney, Steve Reich, Bruce Nauman, and Michael Snow performing Steve Reich`s Pendulum Music. Photo: ©Richard Landry (1969)

As part of our methodology The London Nº1 Sounds begins with a research and documentation phase. For this project we wanted to delve into sound art proposals and different artistic approaches to sound capture. In "The Sound of Ice Melting" (1970) Paul Kos creates an installation where he captures the sound of an ice melting.

Another interesting reference is found in Steve Reich's famous performance "Pendulum Music" (1969) where the sound caused by the distortions created by the coupling between the microphone and the speakers is recorded. The randomness of the pendulum movement generates unique works in each representation.

As part of our methodology The London Nº1 Sounds begins with a research and documentation phase. For this project we wanted to delve into sound art proposals and different artistic approaches to sound capture. In "The Sound of Ice Melting" (1970) Paul Kos creates an installation where he captures the sound of an ice melting.

Another interesting reference is found in Steve Reich's famous performance "Pendulum Music" (1969) where the sound caused by the distortions created by the coupling between the microphone and the speakers is recorded. The randomness of the pendulum movement generates unique works in each representation.

In "Liquid Sound Collision" (2009) Eva Schindling uses fluid dynamics to materialize the sound waves the distortion of two words produce when they collided with each other.

In "Liquid Sound Collision" (2009) Eva Schindling uses fluid dynamics to materialize the sound waves the distortion of two words produce when they collided with each other.

As the materialization of sound was our main concept we connect it with the idea of ​​purity of The London N1 Gin and Tonic.

Our approach was to create a tangible representation of the sound generated by this perfect serve. A totem composed of 5 glasses designed from the wave produced by its five ingredients: ice, lemon, gin, tonic, and juniper.

Also, we add the characteristic gradient blue of this specific gin. Applied in the central glasses where The London Nº1 sounds are.

As the materialization of sound was our main concept we connect it with the idea of ​​purity of The London N1 Gin and Tonic.

Our approach was to create a tangible representation of the sound generated by this perfect serve. A totem composed of 5 glasses designed from the wave produced by its five ingredients: ice, lemon, gin, tonic, and juniper.

Also, we add the characteristic gradient blue of this specific gin. Applied in the central glasses where The London Nº1 sounds are.

Here we introduce you to the journey that has allowed us to transform sound into a glass sculpture. In this project, just as interesting as the result is the process...

Here we introduce you to the journey that has allowed us to transform sound into a glass sculpture. In this project, just as interesting as the result is the process...

"The sound approach developed in this project seeks to capture the sound of the London N1 perfect serve in the purest and closest way possible. For this project, we have used omnidirectional microphones with an extremely small diaphragm (3mm) and with a great spectrum sensitivity (3hz ~ 40Khz) allowing us to approach the sound source with almost surgical precision.

"The sound approach developed in this project seeks to capture the sound of the London N1 perfect serve in the purest and closest way possible. For this project, we have used omnidirectional microphones with an extremely small diaphragm (3mm) and with a great spectrum sensitivity (3hz ~ 40Khz) allowing us to approach the sound source with almost surgical precision.

During the process, we have eliminated all reverberant space, in a way that when we listen to it with headphones, our perception does not place the sound in front of us, but inside our head. This technical sound approach seeks to lead us to an augmented acoustic experience and to appreciate harmonics and textures we could not hear with only our ears."

During the process, we have eliminated all reverberant space, in a way that when we listen to it with headphones, our perception does not place the sound in front of us, but inside our head. This technical sound approach seeks to lead us to an augmented acoustic experience and to appreciate harmonics and textures we could not hear with only our ears."

Iván Llopis, Art Director at Banjo Soundscapes

Iván Llopis, Art Director at Banjo Soundscapes

From the sound wave generated and captured by Banjo we develop a system to transform waveforms into 3D objects. Using (t)ime, (a)mplitude and (f)recuency.

Somehow this is a synesthetic application since it translates sound into images. It allows us to "see" the sound.

From the sound wave generated and captured by Banjo we develop a system to transform waveforms into 3D objects. Using (t)ime, (a)mplitude and (f)recuency.

Somehow this is a synesthetic application since it translates sound into images. It allows us to "see" the sound.

The system works, explained in a simple way, splitting each sound (ice, lemon, gin, mixer and juniper) into ten parts, measuring the (a)mplitude at each of those points. The lowest values correspond to silence, and in this case it would be the finest part of the glass. The highest values, on the contrary, are where the glass becomes larger, wider. The (f)requency determines the type of curve that connects the vertical lines, generating the contour of the glass.

The system works, explained in a simple way, splitting each sound (ice, lemon, gin, mixer and juniper) into ten parts, measuring the (a)mplitude at each of those points. The lowest values correspond to silence, and in this case it would be the finest part of the glass. The highest values, on the contrary, are where the glass becomes larger, wider. The (f)requency determines the type of curve that connects the vertical lines, generating the contour of the glass.

So for glasses to be fully functional, we adjusted the measurements of the top edge and the support feet of each cup. Also, the glasses have to be placed on top of each other in the correct order. Creating the sound wave in the vertical totem.

We recreate the 3D models to adjust the curves and the volumes of the glasses. So we get the idea of the cubic capacity of each cup. This helped us to establish the proportions of height and width.

So for glasses to be fully functional, we adjusted the measurements of the top edge and the support feet of each cup. Also, the glasses have to be placed on top of each other in the correct order. Creating the sound wave in the vertical totem.

We recreate the 3D models to adjust the curves and the volumes of the glasses. So we get the idea of the cubic capacity of each cup. This helped us to establish the proportions of height and width.

With these blueprints, Ferran Collado, who is one of the best and few remaining glassblowers in Spain, began his work. The material he used was borosilicate, which allowed him to work the curves and create titanium molds from the vector silhouettes. With these molds, he could repeat the top part of each glass model on a tube and thus create the 200 glasses more efficiently. The segment of the foot was created separately and then the two pieces were merged, finishing the process.

With these blueprints, Ferran Collado, who is one of the best and few remaining glassblowers in Spain, began his work. The material he used was borosilicate, which allowed him to work the curves and create titanium molds from the vector silhouettes. With these molds, he could repeat the top part of each glass model on a tube and thus create the 200 glasses more efficiently. The segment of the foot was created separately and then the two pieces were merged, finishing the process.

Concepto y Dirección Blo que

A collab project with Banjo Soundscapes
Glassblower Ferrán Collado

Cliente GonzalezByas
Agencia Bloody

Directed & Produced by Blo que
Photo F/estival

Banjo Team
Iván Llopis, Anna Segura y Beatriu 

Blo que Team
Pablo Coppel y Quique Roma

Bloody Team
Maria Hernández, Marta Casado, Jesús y Elías

Concepto y Dirección Blo que

A collab project with Banjo Soundscapes
Glassblower Ferrán Collado

Cliente GonzalezByas
Agencia Bloody

Directed & Produced by Blo que
Photo F/estival

Banjo Team
Iván Llopis, Anna Segura y Beatriu 

Blo que Team
Pablo Coppel y Quique Roma

Bloody Team
Maria Hernández, Marta Casado, Jesús y Elías