Harmonious sensorium music center project in lanzarote
Başlık çevirisi mevcut değil.
- Tez No: 711686
- Danışmanlar: Belirtilmemiş.
- Tez Türü: Yüksek Lisans
- Konular: Mimarlık, Müzik, Architecture, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2017
- Dil: İngilizce
- Üniversite: Politecnico di Milano
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 157
Özet
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Özet (Çeviri)
The idea of parallelism between 'all art' has been studied and experimented with various methodology and quality over time, either to find a methodology of impression or an understanding of how the nature works. Where does the place of humanity lie among nature and art? Characteristically, music and architecture are considered as sister arts; having a scientific point of view, as well as an intrinsic personal experience. Both fields of are able to trigger our senses and interact with our perception, either through geometry or senses, which help us to grasp reality through our consciousness. Is it possible to make a deduction in order to find a meaning and relation among them, following an approach based on the mutual prospects, sensory realism and geometry? What music and architecture have in common can be epitomized as presence and absence; which particularize as notes-silence in music, and solid-void in architecture, respectively. Creation of notes within silence is similar to that of creation of 1.1 Abstract 1. Overview 6 a structure within the air, rhythmic expression can be understood as pattern; both connect to our senses. The 'presence', notes and the solid, are in this case defined by means of mathematics, geometry and functionality; whereas the 'absence', silence and the void remains abstract and transcendental. Architect's role is similar to that of the musician's, establishing a product which would serve our comprehension and usage. Therefore the analogy between music and architecture is reflected as a design process, in which the solid (notes) commanding over the void (silence); constituting from the mathematical aspects of the solid, and the sensory approach of the void. In this case the methodology for the solid comes working along with Quadrivium, which focuses on the divine relation between numbers, geometry, music and astronomy; and the methodology for the void comes from the abstraction of musical and spatial feelings which we perceive with our senses. The search will focus on how our natural being connects with the phenomena of rhythm and proportion, and how can this relate to our conscious recognition; and it will be projected in the case of the design of a public music center. Today, in Digital Age, we are able to discuss the beauty of an art through analyzing its geometry and harmony within yet our eyes are our only sensory system which are able to catch up with the speed of the world we live in. Architecture has to respond to this considering its nature and the social impact on the way we interact with the world, following the need to find geometrical and sensory harmony. What does the mathematical approach of proportion, harmony and rhythm has to do with our perception of the space? The impact of proportional and rhythmic order of the space on the perception of the mind can be seen in numerous examples throughout centuries, with a broad variety; from the mathematical and scientific manifestation of the solid void rhythm of the Greek temple, to the enhancement of metaphysical and religious motives of spirituality through the verticality in the Gothic church. What has been studied in the Renaissance on the harmonious relation between music and architecture has opened an innovative approach in our knowledge, but our evolvement has depreciated this effort, both in the way of interpretation and our social treatise. Today this relation between music and architecture has evolved in more technical ways, subsequent to 7 the pace of innovation and technology. Acoustics has become one of the pioneer essentials of technical aspects of architecture and design, followed by an immense increase in the material range and quality. However, the digital age is yet to prove itself in the exploration of this alliance of geometrical and sensory representationand to extend the research of the relation between“All Art”and“All Sense”. Located in the extraterrestrial-like natural world of Lanzarote, the project aims to study the harmonic relation between music and architecture by conceptualizing our perception of sensory interaction to respond to our being. 'The Harmonious Sensorium' will be a medium between the analogical approach between music and architecture with the architectural tool of solid/void used as a reflection of notation inside music theory. The development of the design process is paralleled to creation of a musical or architectural piece, by operational formation of the solids and then the conditional design of the voids. Hence, the first part of the research focuses on how the mathematical and harmonic relation between music and architecture has developed through history, with a detailed understanding of how architecture should or can relate to this affiliation. The second part will focus on the void, which is displaying the sensory features of mutuality between music and architecture. Such contrasting concepts of presence and absence are mimicking the relation between music and architecture, as a continuum of interaction to derive the analogy into a definition of a conscious design.
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