mat ure scc iht ciu r e
by Lenka Pavlรกskovรก
I call architecture frozen music. -Johann Wolfgang von Goethe-
If architecture is frozen music, Is music liquid architecture? -Frank Gehry-
Music as an Art of Space: Interactions between Music and Architecture in the Work of Iannis Xenakis
Introduction: The speculations about the relation between music and architecture are probably as old as both arts themselves. Generally speaking, they occur on two levels: the intellectual and the phenomenological. The firstinterpretation dates back to ancient Greek thought and is linked with the problems of form and structure. The most elaborate paradigm here is the theory of ‘harmonic proportions’. This synthesis of rationalism and metaphysics knew its peak in the Renaissance when numerous architects and composers tried to shape architectural and musical form according to the same numerical principles. In the second interpretation, originating from 18th century aesthetic relativism, the expressive quality of art is central. Here, beauty does not arise from the intricate structure of the work of art, but from its aesthetic effect and its immersive power. As Paul Valéry states in Eupalinos ou l’architecte, in this context, music and architecture differ from the other arts in their capacity to surround man entirely. This immersive quality derives from the fact that both arts deal with space.
Pierres Vives Building â€“ Zaha Hadid sketches
Zaha Hadid's Billowing, Temporary Music Hall
Hadid's shimmering design is meant to complement Bach's most intricate compositions.