Architecture in motion

‘We have two ways of positing the outside world.

Numbers. Through their effect there is a plurality of individuals: sympathy, order harmony, beauty, etc. [...] in short, everything that is of mind.

Space. This gives us objects “having extension”

In the spatial world the images of the numerical world are projected, first by nature itself, then by men and above all by artists. It can be said that our duty on earth and during the whole of our life consists precisely in this projection of forms issued forth from numbers, and that you, the artists, fulfill that moral law to the highest degree. Not only is it possible to appeal simultaneously to geometry and to numbers, but to do so is the true purpose of our life.’

Andreas Speiser

One of the most interesting lines of thought:

Architecture as a Musical Instrument

The architecture of a musical instrument relies on both materiality and enclosure of a defined space for sound to be able to resonate throughout the body of the instrument. If architecture is seen as a musical instrument, then the sounds that are generated and manipulated within the space becomes a participant in the whole architectural experience. The important factor in this method is acoustics.

For more on this method, please refer to Steen Eiler Rasmussen’s Experiencing Architecture.

More about this proposed classification of the relationships between music and architecture here:

http://suite101.com/article/relationships-between-music-and-architecture-a280916

[...] It became clear to me that a ‘critical’ relationship between music and architecture is a highly subjective notion, where different people might view different issues as being critical. For myself, I quickly understood that the lack of a singular critical relationship between music and architecture is likely what drew me to initially connect the two for the purposes of exploring my own creativity. I see endless relationships between the two – many of which seem interesting enough to merit exploration. This project was initially intended to narrow the spectrum of thinking about music and architecture by exploring three compelling relationships and selecting one as the most critical. Now the project is intended to broaden the spectrum of thinking about music and architecture by exploring three compelling relationships, and exciting creative thinking about many more.

I have reformed my initial question to now read, “What is the Generative Role for Music in Architecture?” and have attempted to answer this question through the explorations of my design thesis project. My explorations, and my findings are found on the forthcoming pages.

Cole A. Wycoff, University of Nebraska-Lincoln