MUSITECTURE. AN EXPIDITION MUSIC AND ARCHITECTURE
YUGANTAR HANDA
GUIDED BY : AR. ASHOK GROVER GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN SONIPAT 131001
DISSERTATION REPORT - I August 2018
MUSITECTURE. AN EXPEDITION
SUBMITTED BY : Yugantar Handa GCAD/14/340
GUIDED BY :
!
Ar. Ashok Grover
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
DECLARATION
I, Yugantar Handa , Roll Number GCAD/14/340 hereby declare that the dissertation titled Musitecture . An Expedition submitted by me, in partial fulfilment of the requirement of the curriculum of Bachelor of Architecture as per the university norms, to Gateway College of Architecture and Design, is a record of my original work with credits given for information collected from any other source.
Yugantar Handa
iii
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
CERTIFICATE
This is to certify that the dissertation titled Musitecture . An Expedition, submitted in partial fulfilment of the requirement of the curriculum of Bachelor of Architecture is the work of Yugantar Handa, Roll Number GCAD/14/340, who carried out research work under our supervision in Gateway College of Architecture and Design, Sonipat, Haryana.
We recommend that the dissertation report be placed before the examiners for their consideration.
______________________________ (Ar. Ashok Grover) Guide
______________________________ (Ar. Bikramjit Chakraborty) Coordinator
iv
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
ACKNOWLEDGMENT
I would like to express my deepest appreciation to my beloved supervisor Ar. Ashok Grover not only for his insightful criticisms and sage advices but also for his patience, encouragement, and continuous supports and in one word perfect morality that is and always will be in my mind for good. Furthermore, I would also like to acknowledge with much appreciation for the crucial role of my dissertation coordinator Ar. Bikramjit Chakraborty for his guidance and helping me understand the process of research better. Moreover, I would like to thank and appreciate all members of staff of Gateway college of Architecture and Design. Lastly and absolutely not least, I would like to express my utmost appreciation to my director Prof. Anil Kumar whose substantial supports was always an encouragement for my life. And finally I would like to thank my family and my friends for their intense support and for having had hours of informal discussions and showing interest in my dissertation.
v
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
DEDICATION
This dissertation is honourably dedicated to my lovely family. .
vi
ABSTRACT
Architecture having complicated characteristics can be said to have roots in various concepts while always being mentioned as a field of art. Hence architects via creativity are able to have more productive forms by utilizing different facilities. This is the reason why architecture and several types of art are interrelated . Accordingly, music as a field of art is one of those types having certain impacts on architecture. Both these are the mediums through which creativity is expressed. Music is defined as the art of sound in time, while the architecture is defined as the art of play between form and space. Both of them expresses ideas and emotions in significant means through the elements of rhythm, melody, texture, proportion, harmony, and colour. A creative idea expressed through one medium, such as music, can be expressed through another medium, such as architecture. Music and architecture both have movements and feelings. One belongs to the visual field and another one based on the aural field. But both as the important components of civilization, music and architecture keep the synaesthesia from several aspects in their relations. Musitecture is a term referring to the pivotal relationship between two legendary art forms. music and architecture. The relationship between these two have been a topic of conjecture over the years. The definition of this relationship always varied from user to user and their perspective. The bond of music and architecture to one another is primarily based on the elementary components of each discipline, that make the composition of both. The components of these disciplines are closely related and somewhat interchangeable.The main propose of this dissertation is be to provide a new sense to designers, musicians and any other art lovers who are interested to transfer musical work to architecture or put architectural elements into music. Hopefully people can get inspiration from them and produce more innovating art works.
ARCHITECTURE . MUSIC . MUSITECTURE . ART . CREATIVITY . ELEMENTS
vii
TABLE OF CONTENTS
DECLARATION ………………………………………………………………………(iii) CERTIFICATE ……………………………………………………………………..…(iv) DEDICATION …………………….………………………………………….…..……(v) ACKNOWLEDGMENT ………………………………………………………………(vi) ABSTRACT …………………………………………..………………….……….……(vii) TABLE OF CONTENTS ……………………………………………….…..…..…….(viii) TABLES AND FIGURES …………………………………………………..…………(xi)
CHAPTER 1 : INTRODUCTION …………………………………………………..…. 1 1.1 Background Knowledge …………………………………………………………….. 2 1.2 Definations and Meanings ………………………………………………………..…. 5 1.3 Aims and Objectives ……………………………………………………………..…. 7 1.4 Scope and Limitations ……………………………………………………………… 8 1.5 Research Questions ………………………………………………………………… 9 1.6 Research Methodology …………………………………………………………….. 10
CHAPTER 2 : THEORETICAL OVERVIEW ………………………………………. 11 2.1 Music and Architecture as art …………………………………………………….
12
2.2 Music and Architecture as tools of communication …………………………..…
15
2.3 Music and Architecture as history ……………………………………………….
18
2.3.1 Ancient Times 2.3.2 Middle Ages 2.3.3 Renaissance Times 2.3.4 Baroque Times
viii
2.3.5 Modern Times
CHAPTER 3 : LITERATURE REVIEW ……………………………………..…..
22
3.1 Music and Architecture as Meaning …………………………………………… 23 3.2 Music and Architecture as Function …………………………………………… 25 3.3 Music and Architecture as Experiments ……………………………………..… 27 3.3.1 Vitruvius Program 3.3.2 Graphic Music 3.4 Music and Architecture as Theology ………………………………………..… 30 3.5 Music and Architecture as Phenomenology …………………………………… 32
CHAPTER 4 : INTERRELATION OF ELEMENTS …..……………………..….
34
4.1 Music and Architecture as Texture …………………………………………..… 35 4.1.1 Music as Texture 4.1.2 Architecture as Texture 4.2 Music and Architecture as Harmony ………………………………………….. 39 4.2.1 Music as Harmony 4.2.2 Architecture as Harmony 4.3 Music and Architecture as Colour …………………………………………….… 44 4.3.1 Music as Colour 4.3.2 Synaesthesia 4.4.3 Architecture as Colour 4.4 Music and Architecture as Rhythm ………………………………………….… 51 4.4.1 Music as Rhythm 4.4.2 Architecture as Rhythm 4.4 Music and Architecture as Proportion ……………………………………….… 57 4.4.1 Music as Proportion
ix
4.4.2 Architecture as Proportion
CHAPTER 5 : ARCHIMUSIC …..………….…………..……………………..….
63
CHAPTER 5 : CONCLUSION …..……………………..……………………..….
93
5.1 Summary …………………………………………………………………..……
94
5.2 Expository audit …………………………………………………………………. 96 5.3 Limitations ………………………………………………………………………. 97 5.4 Epilogue …………………………………………………………………………. 98
PLAGIARISM CHECK REPORT………………………………………………… 99 BIBLIOGRAPHY ………………………………………………………………..… 100
x
TABLE AND FIGURES
1.
Figure 1.1.1 Vitruvius : Architects should serve people
2
2.
Figure 1.1.2. Music and Architecture as Two Arts
3
3.
Table 2.2.1. Comparison of arts, architecture and music suggested by Grillo
14
4.
Figure 2.2.1. Music as communication
16
5.
Figure 3.1.1. David H Thomas : the meaning of music
23
6.
Figure 3.2.1. Function as system of signs.
26
7.
Figure 3.3.1.1 Models created by students during the workshop - Music Animation Machine
27
8.
Figure 3.3.2.2 Graphical representation of music
28
9.
Figure 3.4.1. Music as religion
30
10. Figure 3.4.2. Musical theology : Music is my religion, Hannah Kent
31
11. Figure 3.5.1. Phenomenology : architecture, people and interactions
33
12. Figure 4.1.1
Visual representations of monophonic, homophonic, polyphonic,
heterophonic textures.
36
13. Figure 4.1.2 Bamboo Pavilion by Kengo Kuma
38
14. Figure 4.2.1.1 Gothic Cathedral
39
15. Figure 4.2.1.2 Music Hall
39
16. Figure 4.2.2.1 The harmonious relationship with the environment
40
17. Figure 4.2.2.2 The Soul Of The City, Jasper James
41
18. Figure 4.2.2.3 Elements of Harmony: Health to Your Environment, Health to You
42
19. Figure 4.3.1 Wassily Kandinsky: Painting "Color Study Quadrate" (1913).
44
20. Figure 4.3.1.1 Understanding of music as colour, Edgar Cayce.
45
21. Figure 4.3.1.2 The colour of music, PinkedIn
46
22. Figure 4.3.2.1 George Field, ‘Analogous scale of sounds and colours
47
23. Figure 4.3.2.2 Understanding the phenomenon of synesthesia.
48
24. Figure 4.3.3.1. Colour in Architecture - More Than Just Decoration, Archinet
49
25. Figure 4.3.3.2. Understanding of colours by various architects and theorists.
50
26. Figure 4.4.1.1 Representation of rhythm through musical notes.
51
27. Figure 4.4.1.2 Cyclical repetition
52
xi
28. Figure 4.4.1.3 Linear repetition
52
29. Figure 4.4.2.1. Rhythm in architecture, Domingos Javares
54
30. Figure 4.4.2.2. Memorial to the murdered jews of Europe, Berlin, 1998-2005.
55
31. Figure 4.4.2.3. The arched stone colonnade.
56
32. Figure 4.4.2.4. The Roman Colosseum
56
33. Figure 4.4.2.5. The Opera House, Sydney
56
34. Figure 4.4.2.6 Museo di Storia di Venezia
56
35. Figure 4.5.1. Proportions, Gramatik
57
36. Figure : 4.5.1.1 Proportions in Music
58
37. Figure 4.5.1.2. The musical score of opera Wozzeck
59
38. Figure 4.5.2.1 Modular red and blue based on human proportions.
60
39. Figure 5.1. Archimusic city by Federico Babina
64
40. Figure 5.2. Space Oddity by David Bowie
65
41. Figure 5.3. Song 2 by Blur
66
42. Figure 5.4. Rehab by Amy Winehouse
67
43. Figure 5.5. Requiem by Mozart
68
44. Figure 5.6. Can't Help Falling In Love by Elvis Presley
69
45. Figure 5.7. No Surprises by Radiohead
70
46. Figure 5.8. So What by Miles Davis
71
47. Figure 5.9. Love Will Tear Us Apart by Joy Division
72
48. Figure 5.10. Seven Nation Army by The White Stripes
73
49. Figure 5.11. Suite Pour Violoncelle Nยบ1 by J. S. Bach
74
50. Figure 5.12. Entre Dos Aguas by Paco de Lucia
75
51. Figure 5.13. O Superman by Laurie Anderson
76
52. Figure 5.14. Me Gustas Tu / Desparecido by Manu Chao
77
53. Figure 5.15. Hey Joe by Jimi Hendrix
78
54. Figure 5.16. Smells Like Teen Spirit by Nirvana
79
55. Figure 5.17. Let It Be by The Beatles
80
56. Figure 5.18. River Man by Nick Drake
81
57. Figure 5.19. Confirmation by Charlie Parker
82
58. Figure 5.20. Confirmation by Joga by Bjork
83
59. Figure 5.21. Light My Fire by Jim Morrison
84
60. Figure 5.22. My Funny Valentine by Chet Baker
85
61. Figure 5.23. Wish You Were Here by Pink Floyd
86
62. Figure 5.24. Morning Passages by Philip Glass
87
63. Figure 5.25. Naima by John Coltrane
88
64. Figure 5.26. Every Breath You Take by The Police
89
65. Figure 5.27. Billie Jean by Michael Jackson
90
66. Figure 5.28. Bohemian Rhapsody by Freddie Mercury
91


xii
MUSITECTURE. AN EXPIDITION
CHAPTER - 1
INTRODUCTION
Architecture pleases the eye while music pleases the ear and the very interesting part is that music and architecture have extreme similarities. The principles of architecture resemble with that of music. Whether it is music or architecture both needs an artistic mind to create. Architecture is said to be a frozen music while music is said to be liquid architecture. This chapter aims to explore the background knowledge regarding music and architecture. Furthermore it sheds light on definations and meanings apropos to the research followed by aims and objectives, scope and limitations, research questions and research methodology.
1
1.1 Background Knowledge
One of the most famous philosopher Goethe said: "architecture was music become stone.”1 From this opinion, the reverse proposition could be "music is architecture in movement." And there is a similar point of view from a German philosopher "Architecture is music in space, as it was a frozen music."2 Although those words spread in the world long time and these two statements may be beautiful and true, however, on this theoretical level, they do not really form intimate structures of the two arts, and the relationship between them is hardly to define.3
Figure 1.1.1 Vitruvius : Architects should serve people Source : https://en.wikipedia.org/wiki/Vitruvius
The first architectural theoretician, says in his books: “Architects should serve people”. Throughout the centuries, architecture, as one of the oldest professions, has provided the needs of human beings with the act of space creation. 4 Therefore, architecture that usually was called as the ‘art of creating space’ became a solution for people’s need of spaces with various concerns; including aesthetic, static, financial, function, climatic issues. Over the
1
Goethe, Resonance: Essays On The Intersection Of Music And Architecture
Friedrich Wilhelm Joseph von Schelling, Resonance: Essays On The Intersection Of Music And Architecture 2
3
Iannis, 2008
4
Vitruvius, 1999
2
time, advanced building materials techniques and design, living conditions, and several other socio-economic parameters that an architect ought to be responsible for, have been changed and improved, causing architecture to become more complex and complicated than ever. Architecture is closely related to art, science and technology, and is considered as the intersection point of these concepts. Science, as a comprehensive and influential term, is mostly related to the engineering part in contemporary architecture. Technology, which can be considered as the child of science, brings new materials, architectural elements, and also design and production processing equipment to the architecture. And lastly, art, as another influential and significant constitution of architecture, concerns about aesthetic and formal pleasantness rooted in proportion, formal composition, shapes, geometry and etcetera. Architecture then is carrying the characteristics belonging to three overlapped, influential and interrelated concepts of art, science, and technology. Music is one of the significant types of art. A German philosopher, believes that the highest level of art belongs to music since every art goes through the abstract that music has a good place in.5 Apart from Schopenhauer, Walter Pater has stated: "All art constantly aspires towards the condition of music". He reasoned his statement with the absolute unifying of subject and form in music: something that all arts seek to unify, but music is the only one in which subject and form are seemingly one.6
Figure 1.1.2. Music and Architecture as Two Arts Source : Author
5
Arthur Schopenhauer
6
LĂźtkemeier, 2001
3
Music has always been considered as the highest level of art and the most influential one on architecture. Based on Arthur Schopenhauer’s idea, “All the arts in common are inspiring toward the principle of music”, music possesses a significant place in the quality of art. 7 Thus assumption of an interrelation between architecture and music is expectable. Interestingly, Johann Wolfgang von Goethe has also mentioned that: “I call architecture frozen music”; in spite of different interpretations for the above statement, the quotation shows that the interrelation between music and architecture is beyond the simple terms, especially when Iannis Xenakis, composer, also vividly expressed the great linkage and so much shared terms between music and architecture. 8 Consequently, there was a great curiosity for knowing more about the interrelation between these two types of art in contemporary era when the professions are getting more and more interrelated, and interdisciplinary researches are getting progressively important.
7 8
Ibid Xenakis, 2008
4
1.2 Definations and meanings
Architecture noun /ˈɑːkɪtɛktʃə/ Architecture is the scientific art of making structure express ideas. Architecture is the triumph of human imagination over materials, methods, and men to put man into possession of his own earth. Architecture is man's great sense of himself embodied in a world of his own making. It may rise as high in quality only as its source because great art is great life.9
Music noun /ˈmjuːzɪk/ Music is a collection of coordinated sound or sounds which can be produced through instruments, vocals, insects, animals, anything which can send vibrations in the medium. True music is that which elicits strong emotional states of mind. These feelings can be enjoyed or suffered. Making music is the process of putting sounds and tones in an order, often combining them to create a unified composition.
Art noun \ˈärt\ Something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings.
9
Frank Lloyd Wright, from the Architectural Forum, May 1930
5
Creativity noun ˌ/ kriːeɪˈtɪvɪti/ Creativity is the act of turning new and imaginative ideas into reality. Creativity is characterised by the ability to perceive the world in new ways, to find hidden patterns, to make connections between seemingly unrelated phenomena, and to generate solutions. It involves two processes: thinking, then producing.
Expidition noun /ɛkspɪˈdɪʃ(ə)n/ an excursion or voyage made for some specific purpose, as of war or exploration. It can also be called as a researchable journey.
6
1.3 Aims and Objectives
Various architectural designs and musical theories say that both these arts have multiple things in common, such as rhythm, texture, harmony, proportion, and dynamics thus architecture and music can be parallel in many other ways than one. All the above elements are tying these two arts in some way, whether it is through buildings or sounds. Either way, the overall qualities these branches of arts share can help inspire each other. The more qualities in common, the more influence music and architecture can have on each other through emotions, expressions and work. The aim of this dissertation is to take an creative approach to access the pivotal relationship between the two, by keeping in mind the context of the society and the culture. The stress will be on finding and then defining the relationship between architecture and music which will result in a new approach for artists working with a innovative language, built from the exploration of the principals that make up architecture and music, both graphically and verbally. Besides this, it also encourages designers, who can get inspiration from musical forms and musicians who would like to create musical works from architectural design concept. However, the scientific part of music that comes as acoustic science into architectural geometry and vice versa will not be focused and the target will be to study the commonly concerns with main visible similarities and interrelations. Moreover, certain architectural cases, designed based on music, whether directly or indirectly, will be discussed, illustrating the different manners and levels of interaction between music and architecture in practical realm.
7
1.4 Scope and Limitations
Scope : • The main scope of the study is to study the colossal relationship between music and architecture. • To study these two prestigious art forms through history. • To find and then define the interrelation of basic elements of both the arts. • To bestow musicians and architects, a way to aggrandize their work in particular fields. • To understand the unconscious meaning of music through architecture. • To understand the unconscious meaning of architecture through music.
Limitation : • The major limitation will include the scientific part of both the arts. • The research will not include any specific thought, conviction and notion about the core of music as well as architecture. • It will also not include any kind of transitioning process between the two. • No primary case study of both the fields will be included during the whole research process.
8
1.5 Research Questions
Q.1
What is the the basic correlation between music and architecture ?
• What is the relation between musical composition and architectural design ? • Explain the similarity between a architectural designer and music composer ?
Q.2
Why both these legendary art forms are so much connected ?
• How does music and architecture connects through our history ? • Explain music and architecture as art ?
Q.3
How architects and musicians are benefitted from this bond ?
• What is the effect of music on architecture and vice versa ? • Explain the unconscious understanding of music through architecture ? / Explain the unconscious understanding of architecture through music ?
9
1.6 Research Methodology
This investigation as interpretative research is comprised by basing on collecting, analysis, and categorization of knowledge in the fields of music and architecture. In order to achieve the main aim of the study that is to find out the interrelationship between music and architecture, (i) the raw data, in both fields, are collected by library research and literature survey. Subsequently, (ii) analyzing and categorization of collected raw data comprised the main theoretical framework of the whole structure of the research. Lastly, (iii) some architectural examples are investigated to illustrate the impact of music in the field of architecture and vice versa. To have a more profound perception toward the study and a deeper understanding of the research, the investigation is categorized mainly in six chapters. The first and the last chapter are introduction and conclusion respectively. Not surprisingly, the second chapter has an overview of both fields and includes locating both in the realm of art, being tools of communication resulted in similar classification terms, and possessing some interrelation through history as a result of being cultural heritage and under the influence of social behaviors. The third chapter, by a narrower scrutiny, pivots on similarities and differences of some varied aspects and theoretical concepts both in music and architecture. The fourth chapter focuses on more tangible interrelations between music and architecture and shows how music and architecture is influenced by them. The fifth chapter explores the relationship between music and architecture by a series of posters that depict well known pieces of music as cartoon buildings by a Italian architect and illustrator Federico Babina.
10
CHAPTER - 2
THEORETICAL OVERVIEW
The trace of some similarities in root and trait is visible in these two legendary art forms.. In this respect, the first chapter will overview the relationships between music and architecture theoretically and will be organized in three parts. In the first section, music and architecture are considered as two related art. Secondly, music and architecture is considered through the window of communication capabilities giving service for nonlinguistic transfer of messages. And in the last part, interrelation between architecture and music throughout history is discussed as cultural issue rooted social structure of a society.
11
2.1 Music and architecture as Art
“…Ah-ah, ah! Ah-ah, ah! We come from the land of the ice and snow From the midnight sun, where the hot springs flow The hammer of the gods W'ell drive our ships to new lands To fight the horde, and sing and cry Valhalla, I am coming ! “ - Led Zeppelin-Immigrant Song, 1970
Art is a manifestation of a man’s imagination, perception and cognition. The process of creating art is nothing but a systematic alignment of these three into some form of order and then allowing the order to morph itself into words, images, sculpture, sounds and buildings. It is a cerebral activity combining imagination, analysis, intent and problem solving that coordinating with the rest of the body to express or project this cerebral animation. Iannis Xenakis defined music ‘as a sort of compartment for whoever thinks it and makes it; an individual phenomena as a model for being or for doing by sympathetic drive; a fixing in sound of imagined virtualities’10. Music is the art form that deals with mental imagery in a meaningful composition. Architecture is the process and product of planning, designing and constructing buildings and other physical structures. It requires the creative manipulation and coordination of materials and technology, and of light and shadow. As an art form, architecture is a manifestation of the designer or architect’s imagination, cognition and feelings in response to a context an to a requirement in the form of a spatial experience and volumetric display. Music and architecture are always mentioned and truly insisted as two main categories of art that has profound effects on our life. Music is expressing the feeling by means of sound in time and architecture with substances in designing a space. Based on Langer’s idea,
10
Xenakis, 1971
https://www.academia.edu/15110503/Serialism_in_Art_and_Architecture_Context_and_Theory
12
music was concerned with time, architecture and sculpture with space. 11 It might be significant to say each art has certain impact on different matters of life and architecture is mirror of the whole of presence experience. This is why architecture is called “Mother of all arts”.12 In addition, Blanchard states that “Music can change the world because it can change people.”. 13 Eventually, music and architecture are the two main branches of art that can affect our life and each other. Apart from being music and architecture in the realm of art, understanding the main characteristic of art in these two categories can result in deeper perception. Nature of art are rooted in creativity and representation. Creative activity plays a fundamental role in changing society. By giving new intermediary objects public status, it enriches our world.14 But perhaps the most important function of art is to create new things, like new buildings, spaces, places, formal combination in architectural realm, new combination of notes, rhythm of sound and silence in musical realm. Art has certain fields and branches in which music and architecture take place. Grillo grouped and compared arts by basing on 6 categories which are Music, Architecture, Painting, Sculpture, Poem and Dance.15 He
proposes an interesting table which can
compare various arts, including the "architect" and "music" with each other.
11
Langer, 1955.
https://worldarchitecture.org/architecture-projects/nvgp/
the_house_of_music__perception_of_sound_through_frozen_music-project-pages.html 12
Schulz, 1965,
13
Blanchard, 2009,
14
Schulz, 1965,
15
Grillo, 1987.
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents http://www.maineprep.com/1313/SAT/Classes/FC13.pdf
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
Comparative_Study_of_Music_and_Architecture_from_t.pdf
13
Table 2.2.1. Comparison of arts, architecture and music suggested by Grillo (1987) Source : Comparative_Study_of_Music_and_Architecture_from_t.pdf
14
2.2 Music and architecture as tools of communication
We understand the world and act on the basis of our spontaneous perception. To serve our behaviours and live as a member of social system, we need to communicate via our senses as the perception means. Schulz mentions that “Communication renders true social life practicable”.16 Thus, people found some methods to transfer the information within our common and recognizable signs via our senses. They, by means of certain tools on the basis of understandable actions, try to communicate each other that results with an art. For example, body via movement is resulted with dance and theatre, hand by means of carving creates sculpture and mouth by using words is resulted with poem, text and dialogue. Music and architecture both act as significant tools of perception and communication in our society and culture. Architecture as an art is communication. Communication affects our feelings and we cannot restrict it just with verbal messages like speaking. For instance, a caricature can speak and transmit information to the extent of a book via an abstract, compacted and meaningful image. Architecture also speaks via images, forms, places, and the spirit of places. Although thousands of architects and students of architecture designing without knowing the vocabulary, the grammar, and the syntax of the contemporary language in design, we cannot conclude there is no shared and understandable rules for communication in architecture.17 Music is also a tool of communication despite of different interpretation and ideas. Victor Hugo believes “music as an art expresses that which cannot be said and on which it is impossible to be silent”.18 Music is defined as "The art of combining sounds of voices or instruments to achieve beauty of form and expression of emotion".19 Langer says “music is neither the cause nor the cure of feeling, but a form of logical expression or language of
16
Schulz, 1965,
17
Zevi, 1994.
18
Goldman, Hain and Liben, 2012, https://repository.upenn.edu/cgi/viewcontent.cgi?article=1094&context=mapp_capstone
19
Cross, 2001
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
http://apurvabose.com/apurvabose/wp-content/uploads/2012/12/Communication-in-Architecture.pdf
http://www.littlekidsrock.org/wp-content/uploads/2014/06/MusicAsALanguageAndModernBand.pdf
15
emotions which could enable listeners to experience moods and passions they had never known before”. 20
Figure 2.2.1. Music as communication Source : http://ffmrecords.com/2017/10/04/music-communication-indian-perspective/
Eventually, communication with an unconscious or conscious method needs to be understood for both the speaker and hearers. In this matter, Langer expresses "not his own actual feeling, but what he knows about human feeling”. 21 Consequently, both architecture and music as tools of communication are required to be perceived correctly.
In a broader point of view, since art is sort of communication therefore not only the artist but also others must be capable to perceive the messages of art by means of their senses at different levels. It is necessary to be conscious of the rules to be able to use a symbolsystem. Charles Morris wrote a book on ‘Theory of Signs’ and speaks about a ‘language to talk about sign’. Whether we employ gestures, other kinds of actions, image sound, these have to be ordered and connected with a system of expectation to be meaningful. 22 Cherry thus considers “form as the main common denominator of science of art”. 23 Consequently, 20 21
Langer, 1955 https://worldarchitecture.org/the_house_of_music__perception_of_sound_through_frozen_music-project-pages.html Ibid
22
Charles Morris.
23
Schulz, 1965.
https://www.scribd.com/document/354976225/Morris-Charles-Signs-language-and-behavior-1946-Harvard
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
16
art as means of communication is based upon common symbol systems which are attached to common behavioural patterns or ‘forms of life’. 24 The rules for the use of signs are in daily life rarely formulated in an exact way, rather they have the character of habits or tradition.25 We cannot communicate or even think without a code. Whereas language is a symbol system, art can be taken into account as a language. It is language that “speak us” in the sense that is provides the instruments of communication without which it would be impossible even to work out our thoughts.26 In music, the utter inarticulate meaningless sound that carry no message. They do not know how to speak; they say nothing and have nothing to say. In architecture also the signs needs to be codified to enhance to a language carry a message, as an instance, the Beaux-Arts system actually codified the previous system of sign classified as Gothic, Romanesque, Baroque, and Egyptian.27 Consequently, a symbol-system as a language has to be constructed in such a way that easily adapts itself to region, people, and society characteristics.28 In brief, music and architecture as system of signs and influential arts can be regarded as communication tools. In particular, music and architecture can affect and influence people and accordingly change the psyche of user and hearer. These effects are sort of evidences of the conscious or unconscious communication between the architects and users in architecture and composer and audience in music.
24
Cherry, 1980. http://open.lib.umn.edu/organizationalbehavior/chapter/8-4-different-types-of-communication-and-channels/
25
Schulz, 1965.
26
Zevi, 1994.
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
http://apurvabose.com/apurvabose/wp-content/uploads/2012/12/Communication-in-Architecture.pdf
27
Ibid
28
Schulz, 1965.
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
17
2.3 Music and architecture as History
The disciplines of architecture and music interact with each other throughout the history. Works of architecture and music were influenced by the historic features of the period lived in as both music and architecture are the manifestation of same dominant feature of society, with a decent perception, some similarity, interrelation and reciprocal effects. The better interpretation of history between music and architecture can be obtained by undergoing different ages.
2.3.1 Ancient Times In the ancient times, the first theoretician initiated the basics of architecture and its relevance with music. Based on Vitruvius theoretical book about architecture, the four main majors of science were introduced as arithmetic, music, geometry and astronomy, named “Quadrivium". Vitruvius, in the first book, writes about the importance for an architect of being knowledgeable in a variety of disciplines. He especially mentions about music that: “the architect should know music in order to have a grasp of canonical and mathematical relations.� In addition to math, Pythagoras' ideas on harmony and proportion impressed the process of music and architecture formation. Geometry gives the role of formulization between architecture and music.29 In this era Vitruvius used musical principles in design process of stone theatres with improved acoustics by means of using the principles of Nature. He used stone theatres as the main professional architectural design composing wonderful proportion of physical space for improving visual and auditory experiences.
29
Leopold, 2005.
https://pdfs.semanticscholar.org/6d5f/d6eab79157b354aa2b6b82d0620e12f5d2ea.pdf
18
2.3.2 Middle Ages Despite complete differences in environmental situation in medieval period, there are still traces of society and privilege of cultural issues dominated in both architecture and music. In Middle Ages, named also as dark-aged, people rejected Greek naturalism and lose their belief of nature and God’s creatures. In contrast, God was the only who knows everything and just a few special people can interpret his messages. People should beg everything from God; therefore, no personal viewpoint could be seen in artistic product and the profession of architecture turned from theatre to churches as the place of worship.30 In this era, Vitruvius’ theory throughout his descriptions of temple and theatre design were applied to the churches. The harmonic distance of columns and the principles were based on acoustic science. On the other hand, based on the idea of privilege spirit of the age, the churches were tented to show there glorious. The churches were beyond human scale with glorious monumental scales. 31 This trend in music was revealed by chore music in churches. Therefore huge scale and a number of singers with assist of acoustic science were the main manifestation of privilege cultural issues and interaction of music and architecture. 32
2.3.3 Renaissance Times Another era of changes in society which affected architecture and music was Renaissance often called the time of reborn as a result of returning to ancient Greek rationalism and naturalism.33 After the Middle Ages when the society had a one sided tendency toward churches, the privilege society behaviour was moderated in different aspects and the more focused on secular themes was being observed. Not only the relationship between God and people was simplified, but the science was also developed.34
30
Gelernter, 1995. https://www.metmuseum.org/toah/hd/itar/hd_itar.html
31
Zevi, 1993.
32
Walden, 2012. https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cdCTX0KH=https%3A%2F%2Fscholar.sun.ac.za
33
Jerome, 1971. http://shodhganga.inflibnet.ac.in/bitstream/10603/84043/7/07_chapter%202.pdf
34
Schulz, 1965.
https://www.wenstrom.org/downloads/written/exposition/romans/romans_2_17-24.pdf
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
19
In this era, moderation in society affected on both music and architecture. From musical point of view, Giovanni Pierluigi da Palestrina who was the pioneer best- known 16thcentury musician changed the complicated church music to a moderated organized and more pleasant and close to people behaviour. 35 In architecture, the huge scale of middle aged changed into more pleasant proportion. Despite more secular idea of the society, the churches remained as the most important buildings since public spaces were concerning as the generalization of individual and accordingly geometrical perfection should be reflected the musical harmony in the church buildings.36
2.3.4 Baroque Times Baroque was the time of supreme development in music and architecture and accordingly cultural enhancement especially in detail and ornamentation. From musical point of view, generally in this era, a major proportion of Classical Music was enhanced and performed. It was the time of creation and development of tonality in various complicated rhythms enriched by excessive decorations with their long and fluent melody by means of new playing techniques and new types of music. 37 In a narrower view, range of musical tone, size and complexity of combination of notes was expanded in this time when opera, oratorio, concerto, and sonata as instrumental performance was initiated additionally. George Frideric Handel (1685-1759) and Johann Sebastian Bach (1685-1750) were the two pioneer influential composer of the time who come different tonality range in music true with their fabulous music. 38 Apart from enhancement in musical realm in both structures and details, architecture was influenced by the trace of ornamentation especially in theatres as artistic place of art performances. Harmony in detail of music interpreted in architecture, and accordingly harmonic decoration always mention as distinguishable character of this era in architecture.
35
Jerome, 1971. https://en.wikibooks.org/wiki/Western_Music_History/Renaissance_Music
36
Schulz, 1965.
37
Hare & IĹ&#x;Äąk, 2012. http://www.wjec.co.uk/qualifications/music/r-music-gc/Mozart%20Requiem%20(english).pdf?language_id=1
38
Neuman, 1983.
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
https://www.rcmusic.com/sites/default/files/files/Explorations01_FINAL.pdf
20
2.3.5 Modern Times Many cultural and social factors are under the influence of technology radically changed specially in Modern time. It was the time of blossoming science and accordingly new construction materials and computers as technological electronic movement. In this era, the codification of the modern language of architecture and music changed as a result of fundamental improve of sciences. 39 These advancements cause unmeasurable changes not only on our environment but also on music and architecture as two tools of manifestation of cultural issues. New introduced production tools changed both architectural and musical realm. Lots of enhancement in music and architecture are rooted in electronic advancement. In regard to same root of music and architecture, that is math, computers as tools of calculation influenced on both fields.40 By means of the calculation machines mathematical-scientific structures are transferred into the field of artistic production.41 In musical realm and based on Xenakis idea, evaluating his/her own music that is a dialogue with oneself is the most difficult part of analyzing any music. In architectural realm, computers make it possible to simulate reality, not in the unilateral way perspective drawing does, but in all its visual and behavioural aspects. Finally, various changes are partly supported by the universal computer instrument that cannot be mentioned within concise review on modern movement.
39
Zevi, 1994.
40
Xenakis, 2008. http://www.cdmc.asso.fr/sites/default/files/texte/pdf/rencontres/intervention8_xenakis_electroacoustique.pdf
41
Sikiaridi, 2004. http://infoscape.org/publications/cyberspace98.pdf
https://www.wenstrom.org/downloads/written/exposition/romans/romans_2_17-24.pdf
21
CHAPTER - 3
LITERATURE REVIEW
As the important compositions of culture and society, music and architecture focus on different field of arts. Music is the art design work in time, and architecture is a combination of aesthetics and technology. In the contemporary world many research works are going on to explore the relationship between them, as modern day researchers have started to pay more attention to the synthesis of arts. Numerous attributes of living are used by them to traverse the connection between music and architecture. This chapter is mainly focused on investigating some of the attributes from different aspects.
22
3.1 Music and architecture as Meaning
One of the aspect which both, music and architecture share is “meaning”. In music, meaning plays such a vital role, due to the direct relationships that form between music and people. In any piece played, there is some form of meaning tied to each piece, whether it is by the piece’s origins, the performer, or the listener. In architecture, meaning also plays an important role. According to Juha Leiviska, “a building as it stands, ‘as a piece of architecture’ is nothing. Its meaning comes only in counterpoint with its surroundings, with life and with light”.42 In addition to this role of the surrounding context, each layer that makes up the building, or project, contributes to the meaning of the architecture. In the end, “The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being”.43 This deeper level of meaning exists both in architecture and in music.
Figure 3.1.1. David H Thomas : the meaning of music Source : http://blog.davidhthomas.net/2010/12/what-is-the-meaning-of-music-especially-classical-music-what-is-its-value/
42 Architecture 43
and Urbanism, April 1995
Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses 2005
23
In music, the melody is an element that people most often relate to, based on each person’s experiences. According to Victor Zuckerkandl, “a melody is a series of tones that makes sense�. 44 This definition may be clarified when associated to language. If one hears a language that one does not understand, one basically hears sounds, such as vowels and consonants. On the other hand, if one hears a language that one does understand, one hears words and sentences. For instance, a sequence of sounds will only become words if they have meaning, such as dog and cat. If the letters of the words, dog and cat, were arranged differently, such as gdo and tca, they would simply be sounds and not words since they have no meaning. This same concept can be applied to tones and melodies, in which tones are the sounds, and melodies, or what can be described as meaningful sounds, are the words and sentences. Besides its definition and ability to relate to people, melody has the ability to carry an essence that can communicate positively with people. It is this positive communication that may have the potential to be transferred into architecture. Since melody is the chosen element to be analyzed in music, the element of form is analyzed in architecture, due to its comparable components to those of a melody.
44
Victor Zuckerkandl, Sound and Symbol: Music and the External World 1956
24
3.2 Music and architecture as Function
Music and architecture are the two fields which usually aim to express and communicate its own purpose, theme or uses. Function is a vast aspect, both in terms of architecture and music. In architecture it can be mentioned as the base of modern architects, though, the place of functionalism in architecture can be traced back to ancient times, when 'utilitas' mentioned as a factor comprising architectural totality. Function in architecture is defined as correspondence between the current way of life and the existing “architectural frame”.45 Thus the significant function of architecture is to adapt way of life with the architecture. In contrast to architecture where function has a long background, function is an unclear term in music. Since music does not have a physical tangible material, it acts as a background supporting physical action. Function or theme in music becomes more meaningful when a special piece of sound is explicitly composed for a particular occasions like advertisement or amusing event. In this respect, function in music mostly concerns with the purpose of creating music. For example, an advertisement music is composed in order to enhance the success of a product thus function of music is mediating between disjoint images.46 In this case continuity is an important factor to make an especial product interesting. Finally the main function of this type of music can be summarized in the statement of music tends to linger in the listeners mind ”.47 Function in architecture aims to connect life and architectural form whereas functional aspect in music intend to make a bridge between composer and listener. It aims to make a better and more meaningful communication and accordingly more profound effects. Consequently, function as another mutual concept in both architectural and musical realm is an effective and influential term that make the product more understandable and perceivable by the users.
45
Schulz, 1965.
46
Huron, 1989.
47
Ibid
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents http://www.riverpublishers.com/pdf/ebook/RP_978-87-93102-50-7.pdf
25
Figure 3.2.1. Function as system of signs Source : https://pixabay.com/en/brain-face-functions-head-human-1300479/
In brief, music and architecture as system of signs and influential arts can be regarded as functional tools. In particular, music and architecture can affect and influence people and accordingly change the psyche of user and hearer. These effects are sort of evidences of the conscious or unconscious communication between the architects and users in architecture and composer and audience in music. Setting the shared mutual communicative expression of the fields aside, the mutual concept of function can be considered as interrelation between music and architecture and their similar development.
26
3.3 Music and architecture as Experiments
Music and architecture have big differences as they translate their own concept, feeling, sense in a different manner. It is hardly to define and achieve the translation from them, therefore two experiments have been used as a key to address the relationship between music and architecture in this sub chapter.
3.3.1 Vitruvius Program The first experiment is Vitruvius program48, which is an educational organization stand for develop the teaching methods in architecture field. Pictures shown below are of the workshop about the spatial ideas of music and architecture. As the start point of the experiment, students were asked to read The Voice of the Wood: "only a heart in tune with the voice of the wood can draw a sound from the instrument �.49 Then, through a series of drawing and models, the Music Animation Machine was created.
Figure 3.3.1.1 Models created by students during the workshop - Music Animation Machine Source : https://semioticon.com/semiotix/2017/05/the-semiotix-review-of-books-2/
This workshop was a good attempt to explore the relationship between music and
architecture. It used some basic architectural methods like drawings and models to reflect the spatial feeling of sounds, noise, or instruments. But this experiment just shows the level 48
Vitruvius’ De Architectura, 2014
49
Clement, 1988. http://kellerphysics.com/acoustics/Lapp.pdf
27
of concept, do not have much exploration of the translation of music to architecture. At the concept phase, the workshop was quite useful for students develop a sense of imagination and helpful for them to learn how to think spatially. In brief, the Vitruvius Program was a good start for using architectural method as a tool to relate to the other artistic field.
3.3.2 Graphic Music The second experiment is the Graphic music which to belongs to the theory of minimal music. The main characteristics of minimal music is "simplicity, repetition, illusion/ perception, events, phase-shifting, complexity and sudden alterations of density�.50 As the communication with minimal music theory in vision, the picture is a piece of diagram graphically based on the procedures of minimal music, which composed by music drawing, musical notes, pattern of duration, rhythmic cells and chord members. In order to create framework with spatial quality from this Graphic music, the method was used to complete the structure is transfer those symbols to the spatial units directly.51
Figure 3.3.2.2 Graphical representation of music Source : https://www.smithsonianmag.com/arts-culture/5-12-examples-of-experimental-music-notation-92223646/
50
Martin, 1994
https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/24092/Shelley_washington_0250E_12317.pdf?
sequence=1 51
Ibid
28
This experiment was a direct way to get the architectural spatial units from translation of Graphic Music. The good aspect of this process was the quality of this kind of music theory, which had strong feeling of dynamic, so it is easy to create hierarchical space based on the various mode of Graphic Music. However, similar with the Vitruvius Program, the translation from Graphic Music to architectural units almost focus on the concept phase, and it gives inspiration for architects with dynamic sense.
29
3.4 Music and architecture as Theology
“… The LORD your God is with you, he is mighty to save. He will take great delight in you, he will quiet you with his love, he will rejoice over you with singing ! “
- Zephaniah 3:17, Bible
Theology has an immeasurable effects on people, behaviours, cultures, societies. Undoubtedly, architecture and music has remained under the impact of religion and belief systems throughout the ages. Even they become strong communication tool of religion, they convey beliefs, ideologies, concretize value-objects thus affected artistic codes. Ancient, Medieval, Gothic, Baroque are the very concrete era of reflections of beliefs and their effects on their architecture and music. 52
Figure 3.4.1. Music as religion Source : http://daily.redbullmusicacademy.com/2015/08/house-techno-religion-feature
52
Schulz, 1965.
https://www.jstor.org/stable/1568373?seq=1#page_scan_tab_contents
30
Religious music and religious architecture are the two realms that reflect codes of belief system of societies. Religious architecture which is also known as sacred architecture, concern with sacred or intentional spaces, such as churches, mosques, stupas, synagogues, and temples. Many cultures have significant consideration to their sacred architecture and places of worship based on their beliefs. Like religious architecture concern with religious places, religious music, in contrast with secular music, is generally composing for performance as part of religious ceremonies and for worship.53
This theme for
architectural design is not limited to a certain style of architecture or to a specific era, similarly, these concept in music has also many subcategories and classifications that may reach to more than 12 genres and the main distinguishable feature of this type of music is mostly based on lyrics.54 Consequently, theology as a shared term both in music and architecture focuses on the sacred places to convey and communicate religious and spiritual beliefs.
Figure 3.4.2. Musical theology : Music is my religion, Hannah Kent Source : https://hannahlynnkent.wordpress.com/2012/09/16/music-is-my-religion/
53
Howard, 2004, https://www.google.com/url?
sa=t&rct=j&%2Farticle%2Fview%2F6948%2F6493&usg=AOvVaw3NuiIXzd6rfJPmhu_e3Jb2 54
Leaver, 1998,
https://pdfs.semanticscholar.org/298b/ee3d5bc640f335820e23bc91bb53919d798e.pdf
31
3.5 Music and architecture as Phenomenology
“Just as one experiences the musicality of a piece through the sense of hearing, one can experience this same element through a visual phenomenon in a space”.55 Phenomenology is experiencing the art at a multi sensory level. For music, there is more than what meets ear. Music is felt through an induced synthesis. It is experienced, it is not just heard but absorbed and then it plays it’s magic, affecting the heartbeat, the thoughts, and the imagination. One even feels the surroundings change. Heads bangs, arms sway, pupils dilate, hips swivel and fingers shiver according to the music. It envelops you into the sound based phenomenological experience. The audile gravity pulls the mind and the body to generate images, colours, patterns and reinterpret and perceive the atmosphere. Architecture is also a function of phenomenological experience. “Instead of creating mere object of visual seduction, architecture relates, mediates and project meanings”. An architectural work is not experienced as a series of isolated retinal pictures but in its full and integrated material, embodied and spiritual essence.56 The building is not a volume of air concealed in an appealing box, it is not just for the eyes to enjoy and it is not just made for the camera to capture. Architecture is an experience of space much like the music is the experience of sound. Like the fingers bursting into an air guitar solo under the influence of music, the eye, the body and the heartbeat travels through a series of volumes, covered, enclosed, open, and absorbs the transition of levels, heights, light, material and acoustics. We touch the building, see the light and shadows, move through spaces, hear echoes, and reverberations and sense energy and pulsations. Phenomenology is the other half of architecture and music, the former being structure and all other elements and laws. It is ‘the polyphony of senses’ 57 where “ the eye collaborates with the body and other senses. Where every touching experience of architecture is multi-
55
Agarwala, 2011.
56
Pallasmaa, 2012,
57
Bachelard cited in pallasmaa, 2012.
https://vdocuments.net/music-architecture-the-spatial-translation-of-architecture-the-spatial.html http://cc-catalogo.org/site/pdf/Pallasmaa_EyesoftheSkin.pdf http://cc-catalogo.org/site/pdf/Pallasmaa_EyesoftheSkin.pdf
32
sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle�. 58
Figure 3.5.1. Phenomenology : architecture, people and interactions Source : https://stavroulabirmbas.wordpress.com/2012/09/
The experience lies common to both music and architecture. Above all their inter related elements such as rhythm, proportion, harmony, texture and colour, the feel or enveloping characteristic of both the arts play an equally important role in its comprehension and absorption. Through a metaphysical effect the art forms generate a imagery and then alter the way the surroundings are perceived.
58
Ibid
33
CHAPTER - 4
INTERRELATION OF ELEMENTS
Music and architecture can be paralleled in many more ways than one. Texture, Harmony, Colour, Rhythm and Proportion all are tied into the arts in some way, whether it is through buildings, or songs. Either way, the overall qualities shared between music and architecture can help inspire each other. The more qualities in common, the more influence music and architecture can have on each other through emotions and the overall meanings of works. This chapter mainly focuses on the correlation between the two arts with respect to their


basic elements.
34
4.1 Music and architecture as Texture
The expression of texture has a big difference between music and architecture. As two broad categories of arts, music use various instruments to show the textural feeling, and architectural texture appears in different kinds of materials. With textural view into the relationship between music and architecture, the difference exist in essence. This part mainly focuses on comparison of music and architecture in texture and seek to catch links between them.
4.1.1 Music as Texture In music, the texture refers to layers of sounds, produced by different kinds of instruments, like piano, guitar, bass and drums which produce different layers of melody. Composers use musical score sheet to show his or her ideas, and then, musicians use different instruments to express their own feeling when they read and understand the musical score. Each instrument gives different kinds of characteristic to audience based on the quality of texture. In the board of music studies of University of New South Wales, musical texture results from three sources, which is the layers of sound, the function of each layer of sound and the role of instruments. To analysis the texture of music, people need to define the role of layers. And most of instruments have melodic role, others play harmonic role or rhythmic role in the layers of music. Based on the role of layers, the main types of texture in a piece of music are described as four classes: monophonic, heterophonic, polyphonic, and homophonic.59 All the types are related to various musical styles as well.
59
Galettis, 2009.
https://timwardropmusic.files.wordpress.com/2012/09/texture.pdf
35
Figure 4.1.1 Visual representations of monophonic, homophonic, polyphonic, heterophonic textures. Source : https://slideplayer.com/slide/8709299/
Many adjectives are used to describe the specific properties of musical texture, such as "thick" or "light", "rough" or "smooth", "hard" or "soft". These adjectives are used as the reflections of the perception of the individual, and also as the sense of emotion and outlook to life. 60 Some major thoughts from others specify that, music can elicit changes in texture. According to Cellek's theory, he thought that characteristic external structure properties with their objective effects to generate the texture in all visual objects.61 In other words of his thought, the "texture" means that the surface effects and their expression of the properties for the inner structure of nature. Texture forms the layer of surface and the difference of its create specific appearances. Transferring this theory into musical texture, the melody as appearance of music and composers can obtain new creation opportunities by utilizing the features of texture of instruments. Gencel states that the aim of musical texture is to provide a comforting power for human lives in every period, it is the essence of utilizing texture as a crucial place in mental health of individuals.62
60
Demir, 2012
61
Cellek, 2012.
62
Gencel, 2006.
https://timwardropmusic.files.wordpress.com/2012/09/texture.pdf https://timwardropmusic.files.wordpress.com/2012/09/texture.pdf https://timwardropmusic.files.wordpress.com/2012/09/texture.pdf
36
4.1.2 Architecture as Texture Different with musical texture, the expression of architectural texture always use building materials as the main method. As the process of producing artistic work, the embodiment of art with architectural design is using materials to form the design composition according to use different methods to combine the basic elements, such as dot, line, plane and mass. Thus, the expression of architectural material can giving people with intuitive feeling in visual effect, and the performance of the material aesthetic is the aesthetic perception of building itself. At present, under the impetus of the technology and science, more and more new architectural materials are applied in the engineering unceasingly, and it not only add many new elements for architectural arts, but also put the aesthetic concept into architecture design work for the practical construction vividly. Generally speaking, the first impression of architecture comes from the colour, surface, appearance and the whole textural feeling. In particularly, the main perception of architecture is the visual effect which designed by the combination of different materials, then, through touch the materials and movement in the space, people can get the sense of spatial aesthetic feeling directly. The same architectural material has different effects in the view of different people. For example, from the perceptive of stone material, architecture designers and constructors have different understanding with the texture. Designers always use it from the perceptive of aesthetics, and constructors use its purpose based on the constructive function. In architectural design, through using different quality of materials to do the design work as a combination of several kinds of art, many buildings can be formed in style diversity. The personality of architectural materials is mainly refers to the quality of texture in the architectural concept of aesthetics, which is the aesthetic perception of textural expression. For example, material texture can show the perception of cold or warm, dark or light, harmony or contrast and so on. At the process of doing architectural design work, there will be a general direction in architect's mind, and the theme of all the design are follow this direction. The selection of building materials are also determined by architectural themes, according to the different character of material, use appropriate methods for combination and ornament, the architectural design work can be finished finally.
37
In the existing building materials, although there have lots of new materials been used in construction project in order to provide more possibilities for develop architectural arts, the main structure is still use traditional building materials, such as concrete, steel, glass, brick, wood, etc. With the deepening of social civilization, how to innovate the art work by using the traditional material is a main direction of construction development. In this specific situation, A Japanese architect Kengo Kuma is very good at use material to show their unique quality in architectural design. For example, the Bamboo sticks used to construct the pavilions as pictures showed below.
Figure 4.1.2 Bamboo Pavilion by Kengo Kuma Source : https://wsimag.com/architecture-and-design/37326-textures-of-kengo-kuma
It is a kind of fragile, light and nature material, and always be used as decoration. But Kuma uses bamboo to provide a pavilion space, which is a self-supporting freestanding structure and a number of recessed LED light fitting in this space.63 This pavilion just use less material and given a new inspiration for architectural concept, which covers strong rhythm and rhyme feeling when people get into it. The sense of good use texture in architectural design, just like the quote from Kuma: 'The more the volume of the material is reduced, the more the human body becomes sensitive and tries to concentrate on the limited, thin, small and slight material in order to smell out or catch "something" from it’. 64 63
Gregory, 2014. http://royal-academy-production-asset.s3.amazonaws.com/uploads/35dd89c2-9911-4a57-b6a4-d7c69f565ee9/
SENSINGSPACES_EG_vF_.pdf 64
Kuma, 2010.
https://jennymackness.wordpress.com/2014/04/05/sensitive-learning-spaces-what-architects-can-teach-us/
38
4.2 Music and architecture as Harmony
Harmony can defined as the balanced relationship of musical and architectural composition. It not only refers to the balanced relationship between each parts of music and architecture, but also focuses on their surrounding environment.
4.2.1 Music as Harmony The sense of harmony in music to match their surrounding environment is hardly to be described and make people understand. So in this part, some piece of music has been taken with their surroundings as an atmosphere to make readers get feeling of that. For example, in a Gothic cathedral, that kind of music does not change keys and the notes can make people feel harmonious in the space.
Figure 4.2.1.1 Gothic Cathedral
Figure 4.2.1.2 Music Hall
Source : https://mymodernmet.com/gothic-architecture-characteristics/
The space of this music hall is bigger and there are lot of reverberation. In this space, it requires audience to keep quiet during the show time.
39
4.2.2 Architecture as Harmony The aesthetic perception of architecture is based on its harmonious relationship with the surrounding environment. Architecture is not isolated, but a part of urban space. Therefore, whether it is proper or not, has an effective affect to the surrounding environment. So it is necessary to have a completed and reasonable urban layout. The completion of a significant architecture often brings a series of changes to the entire block, even to wider range of urban space. The architecture of a city holds its proper culture and connotation. It is about the vicissitudes of the city as well. People's perception and experience to the feature of a city is mostly covered by the feeling among its architecture. So architecture is an important carrier to embody urban characteristics. And it recounts the distinctive personality of a city. If architecture pay more attention to seek individuality deliberately and neglect relations with the surrounding environment, every building is completely independent. They may lose their features when they perform themselves excessively.
Figure 4.2.2.1 The harmonious relationship with the environment Source : https://www.tumblr.com/search/trippy%20psyche
Thus, from this general background, how to keep the harmonious relationship with the environment is an important issue for people. Three personal views will be introduced as follow.
40
Firstly, we should pay attention to the conception of the environment. It is necessary to fully consider the local natural environment when architects or composers produce art works, including factors of climate, environment and resources. And then we could adapt, use and respect the distinctive natural factors as much as possible to create an aesthetic environment with the combination of natural and manual operation.
Figure 4.2.2.2 The Soul Of The City, Jasper James Source : http://reelfoto.blogspot.com/2011/09/soul-of-city-by-jasper-james.html
Secondly is the conception of the environment culture. The history and the culture is valuable wealth of a city. It is the city's "soul". Design of the architectural work should be rooted in the local culture endless, inheriting historical context and creating a new culture to keep the harmonious relationship for music and architecture. And thirdly, which is the conception of space. Doing architectural design work should in accordance with local regional characteristics of the building, make the city regains its own characteristics. People could rediscover their sense of identity as well. Design is not really a broad concept. In fact, it is a deep thinking on the specific environment, and it is a method to keep the harmony for human activities with nature. At the same time, it is an architectural thinking rooted in the soil of the region and the culture. Therefore, the
41
design is not just for one piece of music, one building, one country, or a city, it is for a historic district, a particular construction environment. As we think deeply, it can be feel that the design for art work is particularly true and realistic, because every design project has its specific location and environment. The process of producing musical art work or architectural art work is the method of keeping the sense of harmony with its surroundings. With the development of society, people gradually focus more on the construction related environment than the building itself, which is an important feature in the field of contemporary architecture. Architecture should maintain harmonious relations with the surrounding environment. A Dutch architect, Jo Coenen, said that architecture is not just a individual, it belongs to one of the components which constitute to the nature.65 Architectural design in the essence is the design of environment, namely the creation of the environment for an adaptable space of working and living for humans, which could stimulate new mind as well. Therefore, the architectural creation not only meets the usage function, but also adapt to the surrounding environment, which reflect a certain cultural characteristics. It is a particularly important factor to maintain the overall and harmonious environment for urban space.
Figure 4.2.2.3 Elements of Harmony: Health to Your Environment, Health to You Source : https://immune-schein.com/blogs/news/healing-elements
65
Jo Coenen, 2005.
https://issuu.com/thijsasselbergs/docs/reader2017-2
42
The importance of having quality in every aspect we immerse ourselves into from our buildings to our relationships with environment is considered a key to finding the elements of harmony that will lead to the “happy times� that we are all continually driven to achieve in life. Even though harmonious relationship among the buildings includes two meanings: coordination of space and coordination of time. It is necessary that the style of architecture harmonize with the surrounding adjacent to the existing buildings. Harmonious group of buildings is not only just means the same as or similar to. The meaning of harmony in the beautiful architectural works is a combination of coordination, but also a combination of contrast.
43
4.3 Music and architecture as Colour
Colour in music and architecture can be referred to the mood or character, and colours represent different emotions and expressions in our daily life. For example, red make people feel enthusiastic, blue represent gloomy feeling and peace etc. Relating to music and architecture, people can get the same emotions and expressions through ear, eye, or physical activities in space.
Figure 4.3.1 Wassily Kandinsky: Painting "Color Study Quadrate" (1913) Source : https://www.arsmundi.com/en/painting-color-study-kandinsky-811557.html
44
4.3.1 Music as Colour The sense of colour is different with feeling of music. As an important integral part of human culture, music is extremely influential in society and individuals in various ways. First of all, music can be a background or render of atmosphere, and to show the psychological characters of people in various way. It makes life as the sense of reality and kindness, life has its own sound, colour and shape, and visual arts can reproduce the shape and colour of real life. It is a kind of continuous art, but as the reflection of real life, sound is a fragment art, when visual field and aural field can be coordinated, it can be produced the continuous, stereo and complete artistic effects for life, and give people a kind of stereo feeling, make them get an immersive feeling of arts.
Figure 4.3.1.1 Understanding of music as colour, Edgar Cayce Source : https://in.pinterest.com/pin/425801339755211227/
45
The eyes are "perceptual tool" of organ, and it is the behaviour of individual visual perception. As the behaviour guide, colour transfer cognition, emotion and feeling to people through eyes. Most of information is from the visual perception, so eyes can make people fully to appreciate the creation of arts. However, the ears like rational tool, and it is better suited to accept the materials which has been given in the shape or size, so auditory perception of objects are indirect, non-objective and unfixed.
Figure 4.3.1.2 The colour of music, PinkedIn Source : https://www.deviantart.com/pinkedin/art/Colour-of-Music-323657502
46
4.3.2 Synaesthesia With colour view get into music, perceptual music, understand music, read music, visual perspective can bring the unprecedented truth to people when they approach music with colour feeling. Looking for the colour, light and shade, shape and size or others of the visual perspective in music can help people to appreciate different elements of music, and start a new chapter in music development history with visual methods. With music becoming more and more important in culture and society, it does not only exist in ear, at the same time, people also can image a picture in brain according to their own association and taste. The appearance of visual arts can help people touch the music through their eyes, and experience the music with their hearts. From the sense of colour, people can find the source of music, and get the inspiration when they are creating music. Besides, people can also associate sense of colour from the melody of the music and the hearing arts. So we can aware that the unification existing in seeing and hearing, which forms the resonance of arts, and produces music in vision.
Figure 4.3.2.1 George Field, ‘Analogous scale of sounds and colours Source : http://www.design-is-fine.org/post/90603552389/george-field-fields-harmony-of-colour-1817
The experience of audience's life can be fully aroused by the dual sensory stimulation of voice and frames, because when seeing and hearing combine together, it will shows a screen space with depth, and reinforces the immersive feeling for them. The requirements of imaginal thinking are specific, sensible and characteristic, and all the content should
47
be expressed in combination of audio-visual. In terms of music, at the process of appreciation of music works, the player brings the musical rhythm to people and the melody is flow although it is invisible. The music score sheets just show the notes to people, and musical notes are static. In order to understand the meaning of music, people should relate the stillness of notes and the flowing melody together, and use our own association and imagination to create a picture or a story for music in brain.
Figure 4.3.2.2 Understanding the phenomenon of synesthesia. Source : https://in.pinterest.com/pin/481040803936827800/
The produce of visual arts is to help people get into the palace of music, changing music from invisible to visible. The frame of music can use eyes to touch, and the soul of music can be experienced with hearts. In the contemporary society, how to make the concept of colour play an efficient role in music, and make music easier infiltrate into our life is a new chapter need people pay more attention to.
48
4.3.3 Architecture as Colour In Minah's opinion, colour has three roles in architecture, which are colour tectonics, dynamics and imagery. Colour tectonics used for clarify and define the shape in threedimensional. Colour dynamics use figure and diagram to present the visual hierarchies, and also acting as interactions based on contextual juxtaposition. Colour imagery can convey cultural context, emotional response and symbolism through the perceptual architectural experiences. 66
Figure 4.3.3.1. Colour in Architecture - More Than Just Decoration, Archinet Source : https://archinect.com/features/article/53292622/color-in-architecture-more-than-just-decoration
The architecture design works are more focus on their image and personality in contemporary society, and colour with its own abundant expression become an indispensable element in design. It is not only satisfying the demands to the function of buildings, but also as the carrier of aesthetic spirit for clients, fostering their taste for beauty and ability of appreciating architecture. The same colour in different architectural environment can bring different feeling to people. The neat and orderly colour design can make people enjoy the space to their satisfaction, furthermore, it also can bring a unique quality for cities. In contrast, the chaotic colour on building can make colour pollution in their surrounding environment, and also cause visual fatigue for people.
66
Minah, 2006.
https://aic-color.org/resources/Documents/aic2013proc3.pdf
49
We know that the first impression of one city is the different kind of style of building which stand on the roadsides, reflecting the level of civilization of cities. People always say that architecture is the outerwear of cities and building facade is the outerwear of architecture. Architecture facade not only provide protective effect for the interior structure, but also has the artistic, decorative effect for the outer surface. Thus, innovating in the colour use for architecture is one of the most important content to beautify city. The design of colour is critical point for the whole building. It is not only defined by subjective factors of architect's thinking, but it is also as the dynamic process of parameters and variables, cause they can make colour become the combination of technical aesthetics. The function of colour use is mainly a stand link between the feeling of
5
elevation and aesthetic trend of people. Except giving emotion and characteristic for space, colour also can show renewed spirit for architecture.
Figure 4.3.3.2. Understanding of colours by various architects and theorists. Source : http://www.huevaluechroma.com/072.php
50
4.4 Music and architecture as Rhythm
Although differences exist in the relationship between music and architecture from many aspects, majority of rhythmical elements are common in the characteristic of aesthetic. At the process of dealing with architectural form, architects always need to consider about how to use repeated elements in spatial design with rhythmical feeling. The rhythm often refers to the repetition of architectural composition changes regularly, mainly the changes have the sense of cadence, which can give the perception of aesthetic for people.
4.4.1 Music as Rhythm The rhythm in music is defined as patterns of sounds in relation to a beat and the repetition of elements. Rhythm is a significant feature of musical work, and it combines with pitch to produce melodies. The composer creates rhythm in a piece of music through the patterns of long and short sounds and the beat within the bars. 67
Figure 4.4.1.1 Representation of rhythm through musical notes. Source : https://bigother.com/2012/05/18/a-sequence-on-sequence-part-4-nathan-huffstutter/rhythm/
From the view of Peter, he come up with an idea about components rhythms. He thought that the musical rhythm are determined by sounds or formation of sound and their 67
Galettis, 2009.
http://wmich.edu/mus-gened/mus170/RockElements.pdf
51
components.68 Sound and sound formations are defined by more than one component generally, cause the duration can be from beginnings to beginnings, or beginnings to the ends of sounds, melodies or other constitute components. And another point of Peter's theory is that rhythm has weight. If the duration changes, or if different rhythm happen at one certain point, it will cause the rhythmic weight changes. The rhythm can be isolated at the process of analysis in one piece of music , however, in the reality, many kinds of rhythm interpenetrate by each other and happen simultaneously in one musical work.69 As a result, it constitute the specific rhythm of a monophonic or a polyphonic composition. And how to distribute the weight of rhythm within the temporal continuum is the main subject needs composers to consider and calculate. The effect of rhythm has many ways in a piece of music. For example, it can provide the sense of momentum, identify the musical genre, and highlight a particular instrument. As a rhythm scientist in late nineteenth century, Henri Lefebvre thought that the form of musical rhythm is not a straight line but a wave.
Figure 4.4.1.2 Cyclical repetition Source : https://www.colourbox.dk/vektor/sort-o-
Figure 4.4.1.3 Linear repetition Source : http://www.dwigmore.com/newmaterials.html
injer-optisk-illusion-baggrund-vektor-vektor-68
The similar distinction is that rhythm depends on the relationship between 'linear' and 'cyclical' time. He said: 'display a victory of the rhythmical over the linear, integrating it without destroying it. Cyclical repetition and linear repetition meet and collide. Thus, in 68
Petersen, 2013.
69
Ibid
http://wmich.edu/mus-gened/mus170/RockElements.pdf
52
music the metronome supplies a linear tempo; but the linked series of intervals by octaves possesses a cyclical and rhythmical character. Likewise in daily life: the many rhythms and cycles of natural origin, which are transformed by social life, interfere with the linear processes and sequences of gestures and acts'. 70
70
Lefebvre, 2004.
http://theatrum-mundi.org/library/rhythm-studies/
53
4.4.2 Architecture as Rhythm Rhythm in architecture refers to the repetition elements for concept or specific design. The rhythmic elements can be used both in whole building or just details. An obvious example is wooden shutter, which is not only as treatment for shading with the rhythm feeling, but it also can satisfy the requirements of lighting, and use shadow to create rhythmic feeling in space.
Figure 4.4.2.1. Rhythm in architecture, Domingos Javares Source : http://myweb.wit.edu/tavaresd1/Tavares/Rhythm_in_Architecture.html
There are some different methods used to explore the architectural form with rhythmical composition. First one is the repetition of architecture module, such as doors, windows, or column. The second is the repetition of size or scale, such as the distance between column or the span of beam. Keeping the shape of architectural units but change their distance still can provide the feature of rhythm in spatial design, or keeping the same span but change the size or shape of units also can reserve the rhythmical feeling. And another rhythmical form is just keep the similarity of elements, for example, in a series of rhythm system of design, it can combine the gradient increasing and decreasing, make its shape from small to big, or big to small gradually, and the more effective situation is that put one important element in the center, make the element has regular changes from the middle, just like
54
increasing the elements from center to outer circle, and combine with the secondary elements. This is a process of artistic changes from clam to peak, or from climax to relax. In the architectural design, the concept and method commonly used including the rhythm of continuous, gradient, crisscross, ups and downs. The following shall be introduced respectively. The technique used in rhythm of continuous in the architectural composition is that organization and arrangement of one or several components of continuous, such as colonnade design. The features of the gradient rhythm is that often use certain part of components to increase or decrease regularly. Another kind of rhythmic system is alternating rhythm, which is in the architectural composition, using all kinds of modelling factors, such as the size of body, the solid or void space, the density of details, to create a rich sense of rhythm through a series methods in deal with crisscross and interspersed with each other. Architectural design with rhythm feeling is a kind of variably perceived art. It needs to be experienced from the speed of movement. The study of Memorial to the Murdered Jews of Europe as a good viewpoint to explore the relationship between music and architecture in term of rhythm. This property exploited by architect Peter Eisenman, as an art work of memorial and an abstract urban pattern, the pictures showed below is a monumental field of separated cubes from his mind in Berlin.71
Figure 4.4.2.2. Memorial to the murdered jews of Europe, Berlin, 1998-2005. Source : https://www.tabletmag.com/jewish-arts-and-culture/230085/memorials-yom-hashoah
71
Jenck, 2013.
https://www.architectural-review.com/essays/viewpoints/architecture-becomes-music/8647050.article
55
Its rhythmic feeling indicate the totally contrast between sunlight and darkness. From the explanation for this architectural design work, Eisenman said that doing this work with a mood of fear when he experienced the lost in the a cornfield without any information of direction or scale. The endless, undulating grounding of large concrete blocks express the sense of panic very naturally, and it makes people feel isolated through its agoraphobic abstraction.72 Due to the design with undulating and alternating rhythmic element, it causes view suddenly appear and disappear randomly when people through the memorial, just like the meaning of silence after shriek or trumpet blast. It has a close connection with musical rhythm, which as the remorseless declining notes of a piece of funeral dirge. 73 For the better understanding of Rhythm in architecture, some fine examples of rhythmic architecture are listed below :
Figure 4.4.2.3. The arched stone colonnade
Figure 4.4.2.4. The Roman Colosseum
Figure 4.4.2.5. The Opera House, Sydney
Figure 4.4.2.6 Museo di Storia di Venezia
Source : https://gharpedia.com/rhythm-in-architecture/
72 73
Young, 2009.
https://patient.info/forums/discuss/isolation-loneliness-agoraphobia-36788
Ibid
56
4.5 Music and architecture as Proportion
In the opinion of philosopher St Augustine, music and architecture are sister arts, both based on number, which ranks as the source of all aesthetic perfection. This theory brings the inspiration for people to understand and recognize the relationship between music and architecture from a rational perspective. Architecture is often referred to as the space between the walls. The music brought the relationship with the distance between the notes is the embodiment of actual music space on vision, and also is correspondence between visual and auditory performance. This chapter mainly leads the concept of mathematics into proportion, because the science of mathematics has an important property is that nearly the essence in things through variation. Besides, it is also related to discuss about how the music and architecture art work were created with human proportions.
Figure 4.5.1. Proportions, Gramatik Source : http://dubera.com/blog/new-music-exmag-proportions-full-ep-free-download
57
4.5.1 Music as Proportion As the art of time, music is including a complex mathematical system in depth. In the development of music history, the first person who revealed that music and mathematics has proportional relationship is a Greek philosopher Pythagoras. He defines the relationship based on the qualities of sound and the length of strings of musical instruments.74 As a result of defining the response relationship between musical notes and proportion of numbers, recording the music score in short-term fluctuation has become a possibility according to the variation of this proportion. Besides, music produced by continuity and the repetition of notes, and the time interval between notes use the proportion of numbers to record and restore. In other words, it means that created musical work is translation of the time interval from musical notations to click track which is visible, at the same time, the distance between click track and the relationship of musical beat also express the time interval. Thus, mathematics and the proportion of numbers as an important and essential element to generate the musical notations. Actually, when composer create music work, they always use the mathematic methods and proportion of numbers, whether they do so consciously or not. For example, at the start of musical notations, it usually has a score code, such as 4/4, 4/3. The denominator indicates the note per beat and the numerator indicates the number of beats per measure. From this point, it looks like the measuring scale in architectural drawing.
Figure : 4.5.1.1 Proportions in Music Source : https://en.wikipedia.org/wiki/Mensural_notation 74
lmaah, 2004.
http://wmich.edu/mus-gened/mus170/RockElements.pdf
58
Depending on this relationship, we can say that transfer of flowing musical melody to frozen music score sheet is standing on the correspondence and transformative quality of the proportion of music and architecture. According to the proportion of numbers in music, Doctor Wang Yun has a research to explore the correspondence between musical space and architectural space in vision. In his theory, performance of music by two way: the first one is define the relative position of music notes in musical score sheet, and the second one is define the distance between those music notes. In one word, expression of music is ups and downs of the distance between notes. The picture showed below is one of the research about transformation from music score to visual space by Wang Yun. It is from a piece of opera "Wozzeck," which was created by a Viennese composer: Alban Maria Johannes Berg, and it is mainly use slowly rhythm, bring a kind of peaceful sense to people in visual space.75
Figure 4.5.1.2. The musical score of opera Wozzeck Source : https://everynote.com/opera.show/127561.note
From the view of Doctor Wang Yun, the space between music notes and architectural space has response relationship. For example, the closer distances between music notes make people feel stronger stress in spatiality. On the contrary, the further distance between the notes, the more relax feeling from the music, and the wider visual space people can get. The music brought the relationship with the distance between the notes is the embodiment of actual music space in vision, and also is correspondence between visual and auditory performance. 76
75
Wang, 2011.
76
Wang, 2011.
https://wikivividly.com/wiki/Wozzeck https://wikivividly.com/wiki/Wozzeck
59
4.5.2 Architecture as Proportion Transfer Wang Yun's thinking to architecture, the expression of architecture depends on the positional relationship of plane wall and wall to define and performance space in large extent. Following this kind of theory, Wang Yun thought that the gap between musical notes and the distance between walls have response to each other. The distance between notes not at random, depends upon the space feeling of composer, and also the embodiment of the spatial concept. The same principle applies in architecture design, the position of walls in building not set up at random, and it is the embodiment for spatial feeling from designer. 77 Actually, it is not necessary to prove the proportion of numbers used in architecture spatial design, because then architects doing design work, they need to consider about numbers from the beginning to the end. Such as the height of building, the depth of space. Seemingly, a series of mathematical proportion comprise the whole system of architectural space. Obviously, at the contemporary design work, architects doing design work based on the proportion of numbers. However, in ancient time, some folk village were built without architects, designers, even the construction drawing. But those architectural work still has proportional relationship.
Figure 4.5.2.1 Modular red and blue based on human proportions. Source : http://oskarmielczarek-architect.com/human-proportions-compared-to-nature/ 77
Ibid
60
Some ancient architectural works were built up according to the scale of human body. In North Africa, at a small village, the average thickness of the wall is about 450mm. It not just depends on the structure, but also determined by the length of the builder's arm. Besides, the depth of space relied on the pacing of builders, and the frame size of windows and doors determined by the width of the palm and the fingers length of human. It can be considered that the scale of body was used as architecture scale, as traditional way of the construction process, but the essence of architecture is to put the proportion of body and relationship of scale into space. Due to the existence of harmonic body proportion, those ancient buildings still have grace charm without concept design or detail design work by architects. Thus, at the process of construction, when people use their own pacing to define the depth of space; when people use length of arm to measure the thickness of walls; when people use the scale of their fingers and hands to define the frame size of windows; and when people define the height of buildings by their own height, in one word, when people use the scale of themselves to define the position and scale of space where they are living, it is the transformation of harmonic data and balance of proportion into the architectural spatial design.
61
CHAPTER - 5
ARCHIMUSIC
This chapter explores a project named Archimusic which includes a series of posters that depict well known pieces of music as cartoon buildings by an Italian architect and illustrator Federico Babina. The project, Archimusic, traverse the relationship between music and architecture, and sees Babina illustrate pieces by JS Bach, Mozart and Phillip Glass as well as jazz legends Miles Davis, Charlie Parker, Chet Baker and John Coltrane. Babina incorporates extracts of scores in his designs and imagines how the sounds might look as buildings. The Mozart design incorporates the Requiem, JS Bach's portrait is based around the opening of the First Cello Suite and the Philip Glass illustration closely relates to the shape of the score for Morning Passages.
"Music and architecture are intimately joined by a cosmic connection. They both are generated by an underlying code, an order revealed by mathematics and geometry. In these images architecture and music share a clear cultural lineage. The color and the different nuances of music shape the forms and volumes. Reading horizontally gives some basic melodic lines, while reading vertically reveals both harmony and dissonance. A building like an harmonic progression following the movement of chords. A spatial progression that is equivalent to the harmonic progression through chords. Generate a rhythm of solids and voids to reproduce the sequences of notes and silences�.78
78
Federico Babina,
https://www.archdaily.com/516973/archimusic-illustrations-turn-music-into-architecture
62
Figure 5.1. Archimusic city by Federico Babina Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
63
Figure 5.2. Space Oddity by David Bowie Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
64
Figure 5.3. Song 2 by Blur Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
65
Figure 5.4. Rehab by Amy Winehouse Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
66
Figure 5.5. Requiem by Mozart Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
67
Figure 5.6. Can't Help Falling In Love by Elvis Presley Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
68
Figure 5.7. No Surprises by Radiohead Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
69
Figure 5.8. So What by Miles Davis Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
70
Figure 5.9. Love Will Tear Us Apart by Joy Division Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
71
Figure 5.10. Seven Nation Army by The White Stripes Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
72
Figure 5.11. Suite Pour Violoncelle Nยบ1 by J. S. Bach Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
73
Figure 5.12. Entre Dos Aguas by Paco de Lucia Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
74
Figure 5.13. O Superman by Laurie Anderson Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
75
Figure 5.14. Me Gustas Tu / Desparecido by Manu Chao Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
76
Figure 5.15. Hey Joe by Jimi Hendrix Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
77
Figure 5.16. Smells Like Teen Spirit by Nirvana Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
78
Figure 5.17. Let It Be by The Beatles Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
79
Figure 5.18. River Man by Nick Drake Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
80
Figure 5.19. Confirmation by Charlie Parker Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
81
Figure 5.20. Confirmation by Joga by Bjork Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
82
Figure 5.21. Light My Fire by Jim Morrison Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
83
Figure 5.22. My Funny Valentine by Chet Baker Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
84
Figure 5.23. Wish You Were Here by Pink Floyd Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
85
Figure 5.24. Morning Passages by Philip Glass Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
86
Figure 5.25. Naima by John Coltrane Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
87
Figure 5.26. Every Breath You Take by The Police Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
88
Figure 5.27. Billie Jean by Michael Jackson Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
89
Figure 5.28. Bohemian Rhapsody by Freddie Mercury Source : https://www.dezeen.com/2014/06/16/archimusic-illustration-federico-babina/
90
CHAPTER - 6
CONCLUSION
Nowadays, architectural design has gone beyond its physical material and has moved to an advanced level of complexity by means of technological developments, literature outcomes and accordingly new ideas and philosophies. Interdisciplinary works have also been enhanced drastically especially in architecture which is an influential art in our whole life named accordingly “Mother of All Arts”. Another inseparable art from our life is music. Both music and architecture, as manifestations of culture and social characteristics, not only affect our lives but also have influence each other in different history at different levels. In the contemporary era, the interrelation between the fields has reached to its highest complexity that even become a source of inspiration for design in architecture.
91
5.1 Summary
In summary, the aim of this paper was to cast light on the exploration of the relationship between music and architecture. By an overview on music and architecture, different general interaction between both music and architecture can be revealed. Chapter 2 summarizes the interaction between music and architecture through three main aspects which are (i) music and architecture as art, (ii) Music and architecture as tools of communication, and (iii) music and architecture as history. Both music and architecture not only belong to artistic classification but also concern with the mutual concepts like creativity and imitation. Art is a system of signs, music and architecture can be regarded as tools of non-verbal communication. Chapter 3 explains that music and architecture as types of art and communication can result in having some common aspects in the realm of possibility such as (i) meaning (ii) function (iii) experiments (iv) theology and (v) phenomenology in both fields. Furthermore, music and architecture, as cultural heritage, root in social structure of the environment. Therefore, the fields as a result of being a manifestation of the society characteristic have different interrelations at different levels of complexity throughout the history; from simple acoustic science in ancient times to the high level of complexity in contemporary era. Through review several experiments and projects which seek to combine musical elements and architectural factors, Chapter 4 explains the main reflection of the relationship from five aspects (i) texture (ii) harmony (iii) colour (iv) rhythm and (v) proportion. The expression of texture has a big difference between music and architecture, one is through instrument, and another one is use material as the language to describe the quality of architectural texture. The term of harmony has a very close relationship between music and architecture. When music and architecture are harmonious with the surrounding environment based on the local culture, a good art work can be produced naturally. With colour view get into music, it is an abstract conception. Because colour belongs to the visual field but music as the art for aural field. The link is that colour can refers to the mood or emotion in music, and it is quite different with colour used in architectural field.
92
It is a obvious design element in architecture, generally for facade or surface of material. Rhythm in terms of music and architecture means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. The
proportion of music and architecture are both related to numbers but the proportion of both of them can be transformed from each other, cause it has response relationship and the numerical proportion is matched with human body. The chapter 5 explores the relationship between music and architecture through a series of posters that depict well known pieces of music as cartoon buildings by a Italian architect and illustrator Federico Babina.
93
5.2 Expository audit
Music and architecture both play an important role in civilisation, and as two different categories of arts, they are also affected by each other based on the differences and similarities. A complete music always through the process of state, strengthen, develop and to the end, it is quite similar with architectural design process: concept phase, development, detail design and construction. And from the view about transformation for music and architecture, it is a combination of visual and aural arts. Music notes are not just the symbol of record music, but it also shows the spatial feeling on visual perception. On the musical score sheet, the notes express its feeling of sound, and through playing the fluctuating notes movement, the music spaces are formed. In particular, the musical spaces are formed by successively in the time elapsed between the notes. So the space between music notes not only means the continuation of the time, but also is the expression of musical spatial on vision. The musical notes are formed in different way, but the similarity is that they express the rhythm and rhyme of all levels in bodies' activity. A good music work can be formed due to it fits to the changes of body rhythm and resonated with people's activities. The same meaning for architectural space, if the exterior space has resonance and responding relationship with the internal rhythm of human, people can be touched by architectural space. Thus, creating the art works which can move people in spirit level is the essence of composed music score and architecture design.
94
5.3 Limitations
This dissertation has several gaps at the research process. First of all, it has not enough background information. Because music and architecture both have specific qualities in the different period. The aim of this written project is seek to catch the connection between music and architecture, and it needs more information about the development of music and architecture history. And the second limitation of this dissertation is the research about the core of both arts. There is not enough research about different kinds or styles of music and architecture, most of discussions and reflections are from the notional and conceptual view. And another gaps exist in the methodology, the methods used in this research is limited, almost just through the library study and literature review. It could have some other methods for the research, such as interview for people who interested in transfer musical element to architectural design, or use architectural tool to create musical work. It might be more useful for explore their relations directly. A succeeding researcher can also try to do some experiments from the connection with the inspiration of music and architecture.
95
5.4 Epilogue
This research, reveals and emphasize that music and architecture are the two main categories of art and they have certain common issues. Common characteristic, worlds, images, principles, concepts and fundamental issues, and also some other numerous factors that have been mentioned in the investigation, prove these two majors are interrelated. The interrelation between music and architecture in different eras is also some evidences showing their everlasting impacts on each other. Anywhere and at any given point of time, architects should not ignore the potentials of music, both in teaching and practice of architecture. Music can be used as a tool of education to make better sense of understanding of art and aesthetic. On one hand music as a tool of education can cause more profound perception in theoretical issues, while on the other, music can be a source of inspiration for architectural design at levels of different complexity. Architecture can be analyzed and understood by means of music as an assistant and manifestation of aesthetic. In effect, architecture is always related with the act of creativity. At this point, it is a great curiosity to know more about future roles of music in the creation of architecture, which is more sensible and livable as well as being an art product at the cross section of science and technology. This is to be remained another research topic of future studies.
96
PLAGIARISM CHECK REPORT
97
BIBLIOGRAPHY
• Alberti L. B., (1992). On the art of building, London: MIT Press. • Blanchard B., (2009). Making Music and Having a Blast: A Guide for All Music Students (Music for Life), Indiana: IU Press. • Capanna A. (2009). “Music and Architecture: A Cross between Inspiration and Method” Nexus Network Journal, 11, pp.257-272. • Claude B. (1910]. The Beautiful Necessity: Architecture as 'Frozen Music. Rochester, N.Y. : Manas Press • Corbusier, (2008). Toward an Architecture (Goodman J. trans. first publish 1923) London: Frances Lincoln. • Falamaki M. et al., (2008). Architecture and Music, Tehran: Faza Edition. • Giedion S., (1941). Space, Time and Architecture – The Growth of a New Tradition, Cambridge: Harvard University Press. • Golbert-Rolf J. and Gehry F. (2002). Frank Gehry: the City and Music, London: Routledge. • Hare K. and Işık E. T., (2012). “Architecture and music in the Baroque period” Procedia - Social and Behavioral Sciences (51), pp. 635 – 640. Hofmann J. J. (2002). “Towards Spatial Music” the Journal of the UK & Ireland Soundscape, 2(3), pp. 12-27. • Impett J., (2010). “Let’s Dance Architecture: Improvisation, Technology and Form”, Leonardo Music Journal, 20, pp. 85–88. • Kloos M. and Machiel Spaan (2012]. Music, Space and Architecture. Amsterdam, Amsterdam Academy of Architecture • Koestler A., (1964). The Act of Creation, New York: Macmillan.
98
• Leopold C., (2005). “Experiments on Relations between Geometry, Architecture and Music.” Journal for Geometry and Graphics, 9(2), pp. 169-176. • Lütkemeier T., (2001). Chez soi: the aesthetic self in Arthur Schopenhauer, Walter Pater and T.S. Eliot: a study in the aesthetic theories of Schopenhauer, Pater and Eliot, with special regard to notions of selfhood, time and influence, Würzburg: Königshausen & Neumann. • Martin E. (1994). Architecture as a translation of music, New York: Princton Architectural press. • Muecke M. W. and Zach M. S., (2011). Resonance: Essays on The Intersection Of Music And Architecture, Ames : Culicidae Architectural Press. • Neuman F., (1983). Ornamentation in Baroque and post-Baroque music: with a special emphasis on J. S. Bach, Prinction: Princeton University Press. • Ortiz, A. (2014, April 22). Music and Architecture Series. Retrieved from http:// www.revive-music.com/2013/04/22/music-and-architecture-series-curated-by-aruanortiz/ • Riad M. (2009). ARCHITECTURE: MUSIC, CITY, AND CULTURE . Graduate School of the University of Maryland • Sahni K. [2015]. Unpublished undergraduate architectural dissertation, Architecture and Music. SPA New Delhi • Schulz C.N., (1965). Intention in Architecture, Massachusetts: MIT press. • Sikiaridi E., (2004). “The Architectures of Iannis Xenakis” TA, 1(3), pp.201–207.
• Walden D. (2012). “Frozen Music: The Synthesis of Music and Mechanical Theory in Vitruvius” Talk Final Draft 27th April 2012, Available at: http://wp.chs.harvard.edu/chsfellows/files/2012/04/SURS.Walden.paper_.pdf • Waterhouse P., (1921). “Music and Architecture” Oxford Journals, 2(4), pp. 323-331.
99
• Winters E., (2001). “A Dance to the music and architecture” The Journal of Aesthetics and Art Criticism, pp. 61-67. • Xenakis I. (2008). Music and Architecture, (Kanach S. Trans.). New York: Pendragon. • Zevi B., (1993). Architecture as Space: How to Look at Architecture, New York: Da Capo Press. • Zevi B., (1994). The Modern Language of Architecture, New York: Da Capo Press
100
A tribute to all those who contributed to this correspondence.
END .