ConDiT, Performance venue in the Technological District, Buenos Aires, Argentina.

conDiT was a musical creation platform founded in Buenos Aires on 28 October 2011 by composer Luciano Azzigotti, active until 29 October 2017. It produced over sixty activities including concerts, workshops, residencies and tours, and published the biannual magazine Espiral. Its special project taPeTe was a technological performance atelier with adjustable acoustic absorption and diffusion across three spectral bands, allowing the space to be reconfigured for different concert and performance formats.

conDiT was founded in Buenos Aires on 28 October 2011 by the composer Luciano Azzigotti as a platform for concert music, and it remained active until 29 October 2017. It was not a fixed hall: it produced concerts, workshops, residencies and tours, and hosted the International Gaudeamus Muziekweek from the Netherlands. In 2014 it received the Austrian composer Christine Schorkhuber and the Japanese composer Reiko Yamada as artists in residence.

conDiT took its name from the Buenos Aires Technological District, and its biannual magazine Espiral doubled as the concert programme, giving each performance a written frame. Visual artists such as Tomás Rawski, Diego Alberti and Ananke Assef produced the magazine's images. The Minka seminars, held at cheLA in 2013, borrowed their name from the pre-Columbian tradition of communal volunteer work.

conDiT was a platform rather than a fixed hall: its concerts, seminars and residencies took place in borrowed spaces such as cheLA and the Teatro General San Martín, and the platform was active from 28 October 2011 until 29 October 2017. Check the programme of the host institution before travelling, since no permanent venue remains.

conDiT was not a fixed hall but a platform founded by composer Luciano Azzigotti, active from 28 October 2011 to 29 October 2017. Its taPeTe project (Technological Performance Atelier) was a configurable auditorium whose acoustic absorption and diffusion could be tuned across three spectral bands, letting each artist reshape the space for pieces that could not be staged in conventional halls.