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introduction

If we concentrate on space and architecture, then we are essentially dealing with aesthetic qualities and acoustics. It is these elements that make it possible to bring the architecture to the music as it were (by adapting halls to customary music practice or even to highly specific interpretations of it — see the 19th- and 20th-century concert halls for symphony music, in particular venues like the Berlin Philharmonic by Hans Scharoun and Music Centre Vredenburg). One can also try to design a space in such a way that it forms a container for that single piece of music for which the designer intended it — such as The Male Womb by the design offices mat and Elastik, tailored specially for the Kindertotenlieder by Mahler. Zaha Hadid walks a middle course in the pavilion she designed for performances of chamber music by Johann Sebastian Bach. Based on meanings she read into the work of Bach, this pavilion provides an inspiring space in a space, which when erected in the Westergasfabriek (summer 2010) easily met all objectives: not only Bach´s music sounded good here. Conversely, music can be tailored to a particular location and thus be ‘brought to architecture’, so to speak. Music and architecture can be tied together in a subtle manner — this happens in the Festspielhaus by Richard Wagner in Bayreuth and must have once been evident in the Philips Pavilion by Le Corbusier, Xenakis and Varèse in Brussels — but the nature of the music can also correspond in more relaxed fashion with the character of a certain space. For example, the idea is mooted that the St. Thomas Church in Leipzig was of critical importance for the musical content of the works by Bach from the time he worked in that city. This is an interesting idea because one could cast doubts 24

Music Space Architecture  
Music Space Architecture