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

“So over time I developed certain skills: the dosages, for instance, of moisture in the soil so the cement doesn’t crack, and the timing of everything – finishing the form and casting it so that if rain comes, you don’t loose everything. I also learned that when you have mastered a method or a technique for doing something, it gives you lots of freedom, so you have got to try to be disciplined [...]”

(p. 33)

http://www.nuovacultura.it/prodotto.php?ipd=1627

 Hard copies and ebook available, check it out.

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

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

“In music, an example of an axis extension was guitar feedback. Classically, this would be considered a “bad sound”. Now, as Jimi Hendrix playing “The Star Spangled Banner” at Woodstock, it’s not an instance of improving the ratio of “signal to noise”. The noise is signal. In graphic design, David Carson is the popular face of an axis extension beyond the modern, commercial standard. Or the extension is a debate point where, depending upon the viewpoint of the self, the Ability channel is pushed to either extreme. Whatever may come about, we will need a critical model that can encompass all possibilities, It needs to be as adaptable as design itself.”

Volume: writings on Graphic Design, Music, Art, and Culture, p. 134.

Artists’ bio:

http://www.egs.edu/faculty/peter-greenaway/biography/