Now What Sounding Boxes Slide Show 1
Introduction:
Architects define how light enters a space with a poetic understanding of its characteristics rather than an accurate measure of its physics. A poetic understanding of sound can enrich architecture in the same way.
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Slide 1. Two-horn system at Bolling Field USA in 1921
‘As a visually oriented culture our essential responses to the everyday world are semantic. Everyday sounds (noise) are regarded as not having semantic significance.’ … Bill Fontana
Slide 2. Mayan Pyramid of Kukulkan at Chichen Itza and Newgrange plan
Historically sound / noise was regarded as an important aspect of the metaphysical landscape. A handclap at the foot of this Mayan temple produces the call of the sacred quetzal bird and Newgrange with its acoustic rich in standing waves in the range of the human voice.
Acoustic example 1. Acoustic and spatial hierarchy are evident in the clear dominant central space informed by necklace of secondary acoustic spaces. Informs the music of the time = plainchant. A long reverberation and decay time develops a particularly harmonic western musical tradition.
Slide 4. Athassel Priory, Co. Tipperary
Acoustic example 2. A geometric acoustic landscape. A consistent materiality emphasizes the acoustics of the range of enclosed and semi enclosed spaces and the range of scales and geometries of the different spaces.
Prayer (rhythm) in a cloister, sing in the church and sleep in a cell.
Slide 5. Musikalische Unterhaltung (musical support), by Heinrich Schonfeld
In 17th C before the concert hall phenomenon (in western music), music was principally performed in the courts of European nobility in small ensembles. Proportion mainly defines the acoustic character of the rooms dedicated to musical performance.
With the 18th C development of the concert hall (for public performance), the proportion and size of the spaces are the principle characteristics in defining an acoustic for ensemble performance. Musical opinions develop as to ‘best’ concert hall acoustic = goldener saal Vienna.
Slide 7. Salle Playal – Paris / Ircam – Paris
Concert hall architecture develops to suit acoustics and the performance needs of orchestras and large audiences in western classical music. Remained the norm until a 20th C shift towards a spatial complexity of music in its own right.
This workshop proposes to examine proportions in the context of acoustic characteristics (pitch, timbre, resonance, decay etc), which form basis for architectural and musical exploration.
Pitch / duration graphs / compositions
ESPI fringes showing vibration mode of clamped squareplate
Plan for an ideal music room by Thomas Mace
Sketch for tunnel Spiral and spherical auditorium - Stockhausen
We hope that this study establishes potential and scope for musical and architectural exploration.
We hope to see work emerge where music and architecture relate in dialogue.
