Architecture and Music

Nexus Network Journal, 2009

This paper is one of a set of lessons prepared for the course of "Theory of Architecture" (Faculty of Architecture -"La Sapienza" University of Rome). The didactic aim was to present -to students attending the first year of courses -some methods for the beginning stages of design and their applicability to any kind creative work. The brief multimedia hypertext quoted at the end of this paper was carried out in collaboration with the "LaMA" (Laboratorio Multimediale di Architettura) as a test for new educational tools applied to first our "e-learning" experiences.

SAJ - Serbian Architectural Journal, 2019

Starting with a critical view of the general architectural and urban structures of today my paper will present buildings comparable to the body, thus their expression and the meanings they invoke will be presented as a language of form that affect the behavior and psychology of urban residents. Referring to the architectural criticisms of George Bataille, it is argued that the physicality of buildings are valuable insofar as they transcend materiality and lead to symbols and spirituality. Buildings are viewed as presenting different characteristics and attitudes depending on their form. Architecture is also viewed as the product of labour and thus a communal creation that has its roots in the origins of human culture. Each different institution has evolved historically from different senses becoming cultural articulations and resulting in architectures that connect people in enjoyment of shared interests. It is further argued that urban and spatial forms that are confusing as to the...

Published by Canadian Center of Science and Education, 2018

There is no doubt that there is a calculated relationship between architecture and music. If music is the translation of emotion, this emotion has been reflected in the architectural character and the arts of building and shaping its style. And the music of primitive tribes and barbaric peoples represented by the drums of homogeneous repetitions reflected on their buildings and primitive character or their huts identical and compact without compatibility or homogeneity. The rural music of each country, which is characterized by simple melodies and monotonous tones belonging to the living nature and sprouts from its land, we find a reflection of the buildings that are characterized by simplicity and calm and building materials derived from the surrounding nature. The Harmonized melodies and the continuous repetition of original tones and their background can easily be read or heard on the facades of the Islamic style buildings in the continuous surface repetition of contracts and decorations The change of the personality of Arab architecture from one country to another and the change of the form of contracts and domes, has found a similarity in the changing personality of contemporary music. Every modern development in architecture and its character is recorded by the music and its character. The more the cultures of the peoples are merged, the more modern the modern architecture, which occupies its place in the different countries, resonates with contemporary world music and converges with the civil affinity and culture of the peoples. "Architecture is music embodied in the place," says Hassan Fathi. "Music is an architecture embodied in time" Studying the relationship between interior architecture and music enables us to "enjoy" it by using our senses to "see what we listen to" and "hear what we see" achieve greater levels of experience. I think this is what the "normal" people do, and they use their senses to live life differently than they did before. Through practical experiments for students of Design 2, the music has been transformed into an interior design through the sensation, sensation and impression of the music in the same designer to translate these feelings into design forms and stereoscopic elements with materials, colors and reflections that express these feelings and the emotional state raised by this music.

Metaphors, Architecture & Music By Barie Fez-Barringten www.bareifez-barringten.com 6,378 words on 26 double spaced pages What role do users have in metaphors? The answer lies in the comprehensive application of the metaphor to the wider field of all the arts, and specifically architecture and music. Recalling that much has already been written about the relationships and analogies between the two this work explores neither the work nor architecture but their part of a metaphoric holism whereby he or she (user) completes a metaphor interacting with more value than the mere sum of elementary components. The commonalities and differences of music and architecture highlight the commonality of composer, performers, audience and users. The architect is likened to the composer and their commitment to project their experience to the user/audience through builders and performers into the work This monograph refers to the author's notes from a lecture series at Yale University: Architecture the making of metaphors involving, amongst others, Paul Weiss and William J. Gordon. Additionally, this work recalls Danial MacGalvray's research from his article in The proper Education of Musicians and Architects". The discussion about the kind of effort expended to appreciate music and architecture refers to George Dodds On the place of Architectural speculation. Metaphors, Architecture & Music April 22, 1993, on the evening of Earth Day's twenty-third anniversary my wife and I attended a concert of The Clementi Ensemble in a pre-engineered metal building" in the Dhahran Academy in the Eastern Province of Saudi Arabia. But my mind was not on the concert, as such, but the context and the circumstances of what we all expected to experience from these four fine musicians. We also compared this experience to when we helped John McConnel and UThant stage" in central park (that day the United Nations declared Earth Day a world legal holiday); and, the year before the Mayor of New York in Union Square. Indeed, the evening was replete with making leaps back into history to seemingly unrelated events. Even the musical program of Schubert, Beethoven, Mozart and Dvorak conjured "barocco" visions of courtly recitals of other periods and places. We also noticed the many languages and dresses of the audience and yet we were all attending this one concert. It then occurred to me that we were all participating in a metaphoric event which had everything to do with architecture. Perhaps this event and our role as an audience and participants in this metaphor could shed light on the user's role in works of architecture. Because, that night we were both audience, participants and users. The persons of the metaphor So much has already been written about the relationship between music and architecture. Particularly about music's design components and overall modes and meanings. But this night I realized that the audience to this concert was not unlike a building's . We both had a relationship to a Context: weaving together of words, connections; coherence; the interrelated conditions in which something exists. We were an a group of listeners, spectators and perceptors; reading, viewing and listening in public. Metaphors, Architecture & Music We were amongst those to whom things were made audible by the originator, designer, assembler and composer of the works. Before playing each piece one of the musicians would remind us to remember the composer, his intentions about the work and his life in relation to the work. It occurred to me that I had not read anything about metaphor's relationship to architecture. Particularly about their performance. Yet it was the performance in which we all were involved. Having already been to other recitals, in addition to listening to the sound of the music one also watches the communication between players. It is as though one is watching a "musical conversation". Recitals seem to have that quality. Each plays the libretto composed to create interactions between players. But they add so much more by the movement of their body, head and eyes. Their face expresses agreement and satisfaction about the timing, quality and acoustics of what they hear and see. We are watching them make a metaphor between themselves and the composer, the audience, and all using the years of skill with their instruments. This evenings instruments were the violin, cello, viola and piano. I noticed the way in which each of the players positioned themselves on their chairs in relationship to each other, the stage and the audience. They could do little about the theatre or the metal building except ask that only during the performance the airconditioning be shut off because of its' noise. All musicians, dancers and actors have specific routines, responses and actions which as letters in a word, words in sentence, etc, string together to complete the intended metaphor. Metaphors, Architecture & Music Originator to User I began to sketch and plot their positions which then led me to recall how attentive we were in selecting where we'd sit to watch the performance. We also noticed others who did the same. This was one of the components of how we, the audience, must participate in completing the making of the metaphor :the one originally intended by the composer and the theater's architect. I recalled the way in which we perceive buildings and the analogies between seat selection and positioning in buildings. When we enter restaurants and snack shops we look for views, proximity to fountain features, exits, entrances, etc. When we sit in living rooms or lounges we try to find comfortable seats with views, position in space, location to perimeter, center, etc. In planning the layout of an existing apartment or house we care for locating each piece of furniture and functional item on the basis of our vistas, views, position, hierarchies and priorities. Our experience with each building type is generic with both interchangeable and unique considerations. We take responsibility for the control of what we are going to experience in any given situation depending on the length of time, importance, social standing or privacy of the situation. We may settle for one position on a subway ride but yet another in a bus with a view. One position in a concert yet another in a metal auditorium building Aside from our instincts for comfort and obvious mundane necessities we are also aware of yet another responsibility. Metaphors, Architecture & Music We are completing metaphor intentions by the architect of the metaphor in which we find ourselves. We instinctively look to optimize our relationship to the arcitects and composers generique birth characteristic of the whole group and serves to control the projection of characteristics, specifying the structure, accommodating a particular function, or accommodating the function of other form generators. intentions and his design parameters. We are aware that we are the final players in a scenario devised well before our arrival. We are kind of actors or performers playing out the rationale of the place. This then was the link between music and architecture relevant to contemporary orientation. Differences between music and architecture Architecture and music are apparently different from one another. One is static and the other dynamic. One is performed the other . They are both experienced in different ways. Music is best experienced by being physically passive while architecture active. Music, as such is experienced by the ears, while architecture by the sense of vision, touch, smell and sound (acoustics). Particularly these days when we can appreciate music through electronic media; or or the connosseur by reading street music. The differences between architecture are vast: one is a while the other is an applied art. Indeed they both have a spiritual, sensual and unseen dimension but music will not shelter nor materially limit and bound space. The differences focused my attention beyond their Dance music and, background music (muzac), ballet, etc. are exceptions as are rooms where we sit, lie, stand still etc. Metaphors, Architecture & Music Architecture's perceptions are in operations and perceptions in relation to operations while a connoistre understands the details, technique or principles of music, architecture, painting, etc. and is competent to act as a critical judge as one who enjoys with discrimination and appreciation of the subtleties of our metaphors we are each the cognoscere. Paul Weiss says in his book " Nine basic arts" that music and architecture both limit and bound space. (but not materially: different technique, limiting and bounding) aesthics and analogous artistic dimensions to the way they are completed metaphor we can better understand the commonalities and differences between origination, making and experience. All the sizes, heights, clearances and dimensions of rooms and corridors are contingent upon people and the quantity of people a facility must accommodate. The Metaphor of music and architecture Metaphor is a literary term which means "carrying-over"; it associates meanings, emotions, things, times and places which otherwise would not have been related. Metametaphorically times and places (or any essence thereof) known to have a preferential, specific or localized use in one context are explicitly employed in another. One familiar and one strange term are usually composed into a single form where one term normally used in one context is brought over into another with the object of illuminating; making more evident © something in the second domain which otherwise remains obscure. The best of metaphors allow us to express two truths at the same time about two times, the past and future; the past can illuminate the future or the future the past. They ar...

A person can see, feel and touch architecture, but what if he / she could hear it too? Imagine an architectural music in which the surfaces, materials, and forms of a space speak directly, alluring the observer even further into affirmation of spaciousness around them, invoking different memories and emotions. Innovative architects and designers across the world are finding inspiration in music to create sound-producing structures. This new composite living sound organisms, inspired by music, aim to heighten our senses and open our minds to the finer details that make up the world around us. As they come active, or alive they reveal their own tones. Now through digital expression / digital technologies, architecture can attain new heights of creative supremacy. The aim of this paper is to explore through an interdisciplinary thinking, connections between aural and architectural / musical and spatial, in order to achieve a better understanding of how space enhances our well-being. The question that arises is, how sound / music influences the atmosphere of space, while in the same time showing that every environment has an aural architecture.

The aim of this paper is to discover the essence of "meaning" in architecture. To identify the potential of relevant studies on the subject, a literature search was conducted and a list of key words compiled. A better understanding of these theories and phenomena used to explore and define the philosophy of "meaning" might help us identify creative trends in contemporary architecture. The principal finding was that the definition of "meaning" varies among authors. The perception of the built environment, or its "meaning," is affected by the history of a region, incorporation of modern architecture, and social meaning. Furthermore, how an architect designs a building involves bearing in mind the geometry, art, and decoration of historical buildings as well as incorporating the related concepts of poetry, ritual, and symbolism. Eclecticism, aesthetics, and linguistics all influence the reaction to (or perception of) a building by the people who live or work in it.

AMPS Conference 17.1: Education, Design and Practice – Understanding skills in a Complex World., 2019

This paper will examine the primary and essential function of architecture as an experiential and sensory form of art, through theories of industrialisation and intuition, as well as practice-based research we have conducted with students of architecture at Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune in Design Studio since 2015. Our research has shown that the relationship between the fundamentals of architecture is interdependent, leading to a necessary synthesis, privileging an intuitive understanding over a purely analytical one. In the post-industrialisation era, the function of architecture has shifted from a sensory and emotional art form, engendering a sense of delight in its perceiver, to utilitarian and consumer-based. We attribute this to a reconfiguration of the interactions between the three essential players - the Space (Site), the Perceiver (User) and the Creator (Architect). This takes the form of an increasing gap in the tangible and intellectual space between the architect, the client and the site of creation, reflected in the reduction of space as the place to consume/a mere physical entity/a set of data; the perceiver to the client/stakeholder/user and the creator to problem solver. These reductions have not only shaped the practice of architecture but also the pedagogical discourses reflected through teaching methods. In-studio, our practice takes the form of sensory-led exercises that rely on and nurture a multidisciplinary skill set, encouraging students to respond to prompts (ex: seasons and not climate/weather), both tangibly (temperature, humidity, etc.) and intangibly, by creating a piece of non-architectural art in relation to their emotional response (a piece of writing, a painting, murals etc.). The art produced in the studio serves as an idea-model, as a way for the Creator to learn to provoke their own emotional responses in the Perceiver. We contend that this will impact and fundamentally change the modes of discourse and methodology of research surrounding architecture. Beyond treating it as a mere tool of problem-solving (and the architect as problem-solver), this method will bring with it a new vocabulary, associated with experience and delight, and restore the creativity of the architect as an essential cornerstone of architectural practice.

What role does the general public have in metaphors? The answer lies in the comprehensive application of the metaphor to the wider field of all the arts, and specifically architecture and music. Recalling that much has already been written about the relationships and analogies between the two this work explores neither the work nor architecture but their part of a metaphoric holism whereby he or she (user) completes a metaphor interacting with more value than the mere sum of elementary components. The commonalities and differences of music and architecture highlight the commonality of composer, performers, audience and users. The architect is likened to the composer and their commitment to project their experience to the user/audience through builders and performers into the work. This monograph refers to the author's notes from a lecture series at Yale University: Architecture the making of metaphors involving, amongst others, Paul Weiss and William J. Gordon. Additionally, this work recalls Daniel MacGalvray's research from his article in the proper Education of Musicians and Architects". The discussion about the kind of effort expended to appreciate music and architecture refers to George Dodds On the place of Architectural speculation. April 22, 1993, on the evening of Earth Day's twenty-third anniversary my wife and I attended a concert of The Clementi Ensemble in a pre-engineered metal building" in the Dhahran Academy in the Eastern Province of Saudi Arabia. But my mind was not on the concert, as such, but the context and the circumstances of what we all expected to experience from these four fine musicians. We also compared this experience to when we helped John McConnell and UThant stage" in central park (that day the United Nations declared Earth Day a world legal holiday); and, the year before the Mayor of New York in Union Square. Indeed, the evening was replete with making leaps back into history to seemingly unrelated events. Even the musical program of Schubert, Beethoven, Mozart and Dvorak conjured "barocco" visions of courtly recitals of other periods and places. We also noticed the many languages and dresses of the audience and yet we were all attending this one concert. It then occurred to me that we were all participating in a metaphoric event which had everything to do with architecture. Perhaps this event and our role as an audience and participants in this metaphor could shed light on the user’s role in works of architecture. Because, that night we were audience, participants and users. The persons of the metaphor So much have already been written about the relationship between music and architecture. Particularly about music's design components and overall modes and meanings. But this night I realized that the audience to this concert was not unlike a building’s. We both had a relationship to a Context: weaving together of words, connections; coherence; the interrelated conditions in which something exists. We were a group of listeners, spectators and preceptors; reading, viewing and listening in public. Metaphors, Architecture & Music We were amongst those to whom things were made audible by the originator, designer, assembler and composer of the works. Before playing each piece one of the musicians would remind us to remember the composer, his intentions about the work and his life in relation to the work. It occurred to me that I had not read anything about metaphor's relationship to architecture. Particularly about their performance; yet it was the performance in which we all were involved. Having already been to other recitals, in addition to listening to the sound of the music one also watches the communication between players. It is as though one is watching a "musical conversation". Recitals seem to have that quality. Each plays the libretto composed to create interactions between players. But they add so much more by the movement of their body, head and eyes. Their face expresses agreement and satisfaction about the timing, quality and acoustics of what they hear and see. We are watching them make a metaphor between themselves and the composer, the audience, and all using the years of skill with their instruments. This evening’s instruments were the violin, cello, viola and piano. I noticed the way in which each of the players positioned themselves on their chairs in relationship to each other, the stage and the audience. They could do little about the theatre or the metal building except ask that only during the performance the air-conditioning be shut off because of its' noise. All musicians, dancers and actors have specific routines, responses and actions which as letters in a word, words in sentence, etc, string together to complete the intended metaphor.