Beruflich Dokumente
Kultur Dokumente
Abstract
Christensen
This Advanced Study Report documents the
process and outcomes of a digital design project
with the aim of translating music into architecture.
Parametric software has been used to generate 48
virtual forms derived from the preludes and fugues
of Book I of The Well-Tempered Clavier (bwv 846-
869),report
The by the
discusses
Baroque the
composer
history Johan
of theSebastian
relationship
Spatial Polyphony
Bach (1685–1750).
between music and architecture in the Western
tradition, and its relevance to contemporary
Virtual Architecture Generated from the
thought and practice. The report includes a
description of the process of translation, and an
Music of J.S. Bach
analysis of the virtual forms that have been
generated.
Acronyms .............................................................................................
.............7
Acknowledgements ..............................................................................
.............7 Figures and
cʜapteʀ 1 Introduction ....................................................................................9
Tables ............................................................................................8
1.1 Aims and Objectives .................................................................9
1.2 Motivation and Significance......................................................9
1.3 Process.................................................................................... 10
cʜapteʀ 2 Literature Review...........................................................................
11 2.1 Historical Context: A Rich Tradition..................................... 11
2.2 Contemporary Context: Literal and Metaphorical
Approaches ..................................... 12
2.3 Architecture as ‘Frozen Music’ ............................................... 12
2.4 The ‘Architectural’ Music of Bach.......................................... 13
2.5 Digital Architecture ................................................................ 14
2.6 Enhancing Creativity .............................................................. 14
cʜapteʀ 3 Process ...........................................................................................
16 3.1 Background............................................................................ 16
3.2 Description............................................................................. 16
3.2.1 Step 1: MIDI (music) .................................................... 17
3.2.2 Step 2: ASCII (text) ...................................................... 17
3.2.3 Step 3: EXCEL (numerals) ............................................ 18
3.2.4 CATIA (form)............................................................... 19
3.3 ‘Wavelength’ and ‘Pitch’......................................................... 20
cʜapteʀ 4 Virtual translations of the 48 preludes and fugues
from The Well-Tempered Clavier, Book
4.1 Prelude No. 1 in C Major,
I ................................................... 24 bwv 846 ....................................... 25
4.2 Fugue No. 1 in C Major, bwv 846 ......................................... 26
4.3 Prelude No. 2 in C Minor, bwv 847....................................... 27
4.4 Fugue No. 2 in C Minor, bwv 847......................................... 28
4.5 Prelude No. 3 in C-sharp Major, bwv 848 ............................. 29
4.6 Fugue No. 3 in C-sharp Major, bwv 848 ............................... 30
4.7 Prelude No. 4 in C-sharp Minor, bwv 849............................. 31
4.8 Fugue No. 4 in C-sharp Minor, bwv 849............................... 32
4.9 Prelude No. 5 in D Major, bwv 850 ....................................... 33
4.10 Fugue No. 5 in D Major, bwv 850 ......................................... 34
4.11 Prelude No. 6 in D Minor, bwv 851....................................... 35
4.12 Fugue No. 6 in D Minor, bwv 851......................................... 36
4.13 Prelude No. 7 in E-flat Major, bwv 852.................................. 37
4.14 Fugue No. 7 in E-flat Major, bwv 852.................................... 38
4.15 Prelude No. 8 in E-flat Minor, bwv 853 ................................. 39
4.16 Fugue No. 8 in D-sharp Minor, bwv 853............................... 40
4.17 Prelude No. 9 in E Major, bwv 854........................................ 41
4.18 Fugue No. 9 in E Major, bwv 854 .......................................... 42
4.19 Prelude No. 10 in E Minor, bwv 855...................................... 43
4.20 Fugue No. 10 in E Minor, bwv 855........................................ 44
4.21 Prelude No. 11 in F Major, bwv 856 ...................................... 45
4.22 Fugue No. 11 in F Major, bwv 856 ........................................ 46
4.23 Prelude No. 12 in F Minor, bwv 857...................................... 47
4.24 Fugue No. 12 in F Minor, bwv 857........................................ 48
4.25 Prelude No. 13 in F-sharp major, bwv 858 ............................ 49
4.26 Fugue No. 13 in F-sharp major, bwv 858............................... 50
4.27 Prelude No. 14 in F-sharp minor, bwv 859 ............................ 51
4.28 Fugue No. 14 in F-sharp minor, bwv 859 .............................. 52
4.29 Prelude No. 15 in G major, bwv 860...................................... 53
4.30 Fugue No. 15 in G major, bwv 860........................................ 54
4.31 Prelude No. 16 in G minor, bwv 861 ..................................... 55
4.32 Fugue No. 16 in G minor, bwv 861 ....................................... 56
4.33 Prelude No. 17 in A-flat major, bwv 862................................ 57
4.34 Fugue No. 17 in A-flat major, bwv 862 .................................. 58
4.35 Prelude No. 18 in G-sharp minor, bwv 863 ........................... 59
4.36 Fugue No. 18 in G-sharp minor, bwv 863 ............................. 60
4.37 Prelude No. 19 in A major, bwv 864 ...................................... 61
4.38 Fugue No. 19 in A major, bwv 864 ........................................ 62
4.39 Prelude No. 20 in A minor, bwv 865...................................... 63
4.40 Fugue No. 20 in A minor, bwv 865........................................ 64
4.41 Prelude No. 21 in B-flat major, bwv 866................................ 65
4.42 Fugue No. 21 in B-flat major, bwv 866 .................................. 66
4.43 Prelude No. 22 in B-flat minor, bwv 867 ............................... 67
4.44 Fugue No. 22 in B-flat minor, bwv 867 ................................. 68
4.45 Prelude No. 23 in B major, bwv 868 ...................................... 69
4.46 Fugue No. 23 in B major, bwv 868 ........................................ 70
4.47 Prelude No. 24 in B minor, bwv 869...................................... 71
4.48 Fugue No. 24 in B minor, bwv 869........................................ 72
cʜapteʀ 5 Analysis and Interpretation ............................................................
73 5.1 The 48 Virtual Forms ............................................................. 73
5.1.1 A Family of Forms......................................................... 73
5.1.2 The Shape of Music ...................................................... 73
5.1.3 Digital process............................................................... 74
5.1.4 Orientation ................................................................... 74
5.1.5 Symmetry ...................................................................... 74
5.1.6 Harmony....................................................................... 74
5.2 Other Work ........................................................................... 75
5.2.1 Physical Model .............................................................. 75
5.2.2 Fly-through movie ........................................................ 75
5.2.3 Flash animation............................................................. 77
cʜapteʀ 6 Conclusion.....................................................................................
78 6.1 Limitations.............................................................................. 78
6.2 Potential for Development...................................................... 78
Apparatus..............................................................................................
.......... 79
Figures and Tables
Acronyms
Information Interchange
representing alpha-numeric characters
(Macquarie Dictionary)
CAD
Computer Aided Design
MIDI
Musical Instrument
An industry standard protocol for
Digital Interface
converting music performance
information (note names, durations, dynamics, etc.) into digital data streams
(Macquarie Dictionary)
MP3
Moving Pictures 3
A digital audio file in which the audio
parts of the signal not heard by the human ear. Derived from MPEG
(Macquarie Dictionary)
WAV
Acknowledgements
cʜapteʀ 1
Introduction
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This chapter describes the aims and objectives of 960000ffe205384943435f50524f46494c4
the project, as well as its significance and the 5000101000005286170706c022000006d
6e74725247422058595a2007d20005000
motivation for undertaking it. A short summary of d000c00000000616373704150504c0000
the process is also given. 00006170706c000000000000000000000
000000000000000f6d6000100000000d32
d6170706c000000000000000000000000
1.1 Aims and Objectives 000000000000000000000000000000000
000000000000000000000000000000000
The aim of this digital design project is the 00000d7258595a0000012000000014675
8595a00000134000000146258595a0000
translation of music into architecture. For 014800000014777470740000015c00000
centuries, architects have puzzled over the 01463686164000001700000002c725452
430000019c0000000e675452430000019
relationshipbetween musical and architectural c0000000e625452430000019c0000000e
The project
form.This is concerned
project uses thewith thetechnology
latest structure ofto 64657363000001ac0000003f6370727400
0002540000004876636774000001ec000
music,
explorenot
thisthe soundconundrum.
ancient produced by a particular 000306e64696e0000021c000000386473
636d0000029c0000028c58595a2000000
performance. The musical score is the starting 0000000744b00003e1d000003cb58595a
Figure 1.1: Johan
point, providing the ‘blueprint’ from which virtual 200000000000005a730000aca60000172
Sebastian Bach
658595a20000000000000281800001557
forms are
Spatial Polyphony
generated. refers to a representation, in (www.imagesonline.bl.uk)
0000b83358595a20000000000000f35200
space, of the rich structure of Baroque music, as 010000000116cf73663332000000000001
0c42000005defffff326000007920000fd91
exemplified in the fugues of Johan Sebastian Bach fffffba2fffffda3000003dc0000c06c637572
(1685-1750). A fugue is a complex musical ‘game’ 76000000000000000101cd00006465736
3000000000000001447656e6572696320
in which two or more melodic lines are woven 5247422050726f66696c65000000000000
together to form a harmonised whole. This type of 0000000000144765
music is known as polyphony (literally, many
sounds)
A and Bach
key objective of is
theregarded astoitstranslate
project is greatesta
exponent. of works by Bach, in its entirety. This
collection
enables the generation of a family of forms, which
aids comparison and improves the depth of
The Well-Tempered
analysis possible. Clavier (bwv 846-893) is a
famous collection of keyboard pieces by Bach.
With each of its two volumes containing preludes
and fugues written in all 24 keys, it is a veritable
“compendium of contrapuntal keyboard music”
(Stegemann
To make the 1993).
translation of a large number of
pieces feasible, a process with a high degree of
automation has been developed. This process is
described in detail in chapter 3.
1.2 Motivation and Significance
This project is motivated by the desire to use new
technology to shine light on anoldproblem.The
long history of musical analogy in architecture,
and the close formal links between the two art
forms, testify to the significance of the
relationship.
The idea of translating music into architecture is
not new. During the Renaissance, musical theories
of harmony formed the basis of the proportional
systems used by architects such as Palladio and
Alberti (Wittkower 1973).More recently, the
contemporary architects Steven Holl and Daniel
Libeskind have sought to make translations of
music
In 1928inatheir work,student
Bauhaus either literally
named or Heinrich
metaphorically
Neugeboren (Harvey to
attempted 1998).
design a sculpture based
on a fugue by Bach (Wingler 1969). By his own
admission, Neugeboren’s attempt met with limited
success. In the 21st century, the advent of digital
design and the notion of ‘virtual space’ have
opened up new avenues to explore the problem.
This project continues Neugeboren’s work, using
the latest digital tools to make a virtual translation
of
1.3Bach’s
Processmusic.
Literature Review
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950000ffe20c584943435f50524f46494c4
500010100000c484c696e6f021000006d6
e74725247422058595a2007ce00020009
000600310000616373704d53465400000
000494543207352474200000000000000
00000000000000f6d6000100000000d32d
Figure 2.5: Steven Holl’s
485020200000000000000000000000000
Stretto House, a literal
000000000000000000000000000000000
translation of music (Martin,
000000000000000000000000000000000
1994,p57)
000116370727400000150000000336465
7363000001840000006c7774707400000
1f000000014626b7074000002040000001
47258595a00000218000000146758595a
0000022c000000146258595a000002400
0000014646d6e64000002540000007064
6d6464000002c40000008876756564000
0034c0000008676696577000003d40000
00246c756d69000003f8000000146d6561
730000040c00000024746563680000043
00000000c725452430000043c0000080c6
75452430000043c0000080c6254524300
00043c0000080c7465787400000000436f
707972696768742028632920313939382
04865776c6574742d5061636b61726420
436f6d70616e7900006465736300000000
000000127352474220494543363139363
62d322e31000000000000000000000012
735247422049454336313936362d322e3
100000000000000000000000000000000
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Walton’s book includes a discussion of
counterpoint and harmony – the ‘horizontal’ and
‘vertical’ aspects of music. Counterpoint,
consisting of different melodic lines running
independently in the same horizontal direction, is
likened to the façade of a Renaissance palazzo,
with its horizontal bands
ofwindows.Bycontrast,harmony,with its vertical
arrangement
Walton’s comparisons
of notes into
between
chords,
architecture
is equatedand
with
the verticality
music seem slightly
of a Gothic
idealised;
cathedral
there (Walton
are
1934).
exceptions to every rule. Nevertheless, the use of
‘spatial’ terms such as horizontal and vertical to
describe music, supports the notion that ffd8ffe000104a46494600010
significant formal parallels exist between the two 201009100910000ffe20c5849
43435f50524f46494c4500010
disciplines.
2.4 The ‘Architectural’ Music of Bach 100000c484c696e6f02100000
The polyphony of a Bach fugue is an ideal example 6d6e74725247422058595a20
07ce00020009000600310000
of the integration of the horizontal and vertical
616373704d53465400000000
aspects of music. A fugue is a complex musical
494543207352474200000000
‘game’ in which two or more melodic lines, or 00000000000000000000f6d6
ffd8ffe000104a46494600010201009000
voices, 000100000000d32d48502020
900000ffe20c584943435f50524f46494c4
arewoventogethertoformaharmonisedwhole.The 500010100000c484c696e6f021000006d6
000000000000000000000000
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challenge of writing a fugue is to preserve the 000000000000000000000000
000600310000616373704d53465400000
The overtly
identities of structural
each voiceform
whileof arranging
a fugue is them
ideal in 000000000000000000000000
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00000000000000f6d6000100000000d32d
inspiration
such a wayfor thatarchitecture.
they produce In pleasing
his book,harmonies
Bauhaus, 000000000000000000000011
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Hans
when Maria
playedWingler documents a student project
together. 637072740000015000000033
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to design a sculptural monument to the composer 64657363000001840000006c
000116370727400000150000000336465
in 1928 (Wingler, p440-441). The sculpture, based 77747074000001f000000014
7363000001840000006c7774707400000
on a graphic representation of a Bach fugue, is 626b70740000020400000014
1f000000014626b7074000002040000001
47258595a00000218000000146758595a
very literal in its approach (Figure 2.6). The 7258595a0000021800000014
0000022c000000146258595a000002400
monument’s designer, Heinrich Neugeboren, 6758595a0000022c00000014
0000014646d6e64000002540000007064
6d6464000002c40000008876756564000
Figure 2.6: Wood and
6258595a0000024000000014
explained at the time that he was not “concerned 0034c0000008676696577000003d40000
cardboard replica of
646d6e640000025400000070
00246c756d69000003f8000000146d6561
Neugeboren’s design for a
with an emotionally personal reinterpretation, but 730000040c00000024746563680000043
646d6464000002c400000088
Bach Monument. The low
rather with a was
Neugeboren scientifically
inspired byexact
the transformation
synaesthetic ideas 00000000c725452430000043c0000080c6
form on the left represents
767565640000034c00000086
75452430000043c0000080c6254524300
the bass. (Wingler, p441)
into
of the
another
theRussian
system”
painter,Kandinsky,whowas
(Wingler, p440-441). 76696577000003d400000024
00043c0000080c7465787400000000436f
thenateacherat the Bauhaus (Wingler 1969). 707972696768742028632920313939382
6c756d69000003f800000014
04865776c6574742d5061636b61726420
Kandinsky saw a great affinity between painting 6d6561730000040c00000024
436f6d70616e7900006465736300000000
and music, especially in terms of colour (Figure 000000127352474220494543363139363
74656368000004300000000c
62d322e31000000000000000000000012
2.7). In his theoretical work Concerning the 725452430000043c0000080c
735247422049454336313936362d322e3
Spiritual in Art, Kandinsky writes, “colour is the 675452430000043c0000080c
100000000000000000000000000000000
0000000000000000000000
keyboard, the eyes are the hammers, the soul is 625452430000043c0000080c
the piano
Colour is nowhere
with the to
strings”
be seen(Düchting
in Neugeboren’s
1996). 7465787400000000436f7079
sculpture. His experimental work is concerned with 726967687420286329203139
representing the “construction” of the music 3938204865776c6574742d50
(Wingler, p440-441). Each of the three forms in the 61636b61726420436f6d7061
6e7900006465736300000000
model represents a voice from the fugue; as the
000000127352474220494543
music rises and falls, so too does the sculpture.
36313936362d322e31000000
000000000000000012735247
422049454336313936362d32
2e3100000000000000000000
000000000000000000000000
0000000000
However, Neugeboren admits that his creation is
flawed. The bass, deep and powerful when heard,
seems insignificant in the sculpture. Its lesser
stature allows it to be smothered by the “towering
monumentality” of the soprano (Wingler, p440-
441).
2.5 Digital Architecture
Neugeboren’s “scientifically exact” translation,
while limited by the technology available at the
time, is strikingly similar in spirit to contemporary
digital design practice.An example is the process
known as Data Representation Architecture,
where architectural form is generated using data
In Real
from and Virtual
a source Spaces
external Generated by
to architecture. Music,
Music is
Adrian Levy describes
one possible source of the procedure whereby
data.
sounds (car horn, water) and melodies
(Beethoven’s Ode to Joy) are translated into
architectural form (Figure 2.8). Sampled sounds
are converted to data, which is then manipulated
to generate geometries. Musical parameters
(frequency, duration and loudness) are mapped
onto spatial parameters (x, y and z coordinates of
points in space). This process creates a number of
virtualRepresentation
Data surfaces, to which colour, light
Architecture is anand texture
example of
are added at
parametric the designer’s
design, a profounddiscretion (Levy in
development
2003,p380). which promises to extend the
architecture
computer from a simple tool used for
representation into a powerful instrument capable
of generation (Menges 2005,p63). However, the
role of the architect as data manipulator is crucial
in this process. The human operator of the machine
is the mediator between raw data and outcome,
and must exercise judgement in the selection of
the data and the
2.6 Enhancing design of the system itself.
Creativity
Issues of authorship are growing more relevant,
especially in the educational context, where the
use of advanced digital design techniques is
Digital
becomingprocesses can be
increasingly used in architectural
common.
education to challenge notions of what architecture
is and to enhance students’ creativity. In The
‘Musitecture’ Game students explore the
relationship between music and architecture using
a process similar to Data Representation
Architecture. Digital representations of
architectural form are created directly from
musical compositions using parameters such as
dynamics, tempo, meter and rhythm (Figure 2.9).
Diverse musical
sources are used, ranging from jazz and pop, to
indy and heavy metal (Ham 2005,p142).
Process
ffd8ffe000104a46494600010201009400930000ffe205384943435f50524f46494c45000101000005286170706c0220
00006d6e74725247422058595a2007d20005000d000c00000000616373704150504c000000006170706c0000000000
00000000000000000000000000f6d6000100000000d32d6170706c0000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000d7258595a00000120000000146758595a000001
34000000146258595a0000014800000014777470740000015c0000001463686164000001700000002c725452430000
019c0000000e675452430000019c0000000e625452430000019c0000000e64657363000001ac0000003f63707274000
002540000004876636774000001ec000000306e64696e0000021c000000386473636d0000029c0000028c58595a200
00000000000744b00003e1d000003cb58595a200000000000005a730000aca60000172658595a20000000000000281
8000015570000b83358595a20000000000000f35200010000000116cf736633320000000000010c42000005defffff326
000007920000fd91fffffba2fffffda3000003dc0000c06c63757276000000000000000101cd00006465736300000000000
0001447656e65726963205247422050726f66696c650000000000000000000000144765
Analysis and
Interpretation
The purpose of this chapter is to analyse and
interpret the 48 virtual forms which are
documented in the previous chapter. It also looks
at other work done as part of this project,
including the production of a physical model and
two animations.
5.1 The 48 Virtual Forms
5.1.1 A Family of Forms The Well-Tempered
Clavier is a compendium of contrapuntal
keyboard music. Each prelude and fugue can be
appreciated in isolation, but when the 48 are
seen as a whole they take on far greater
Each piece has been presented in the same
significance.
format in order to aidcomparison.Inthis
way,differences andsimilarities are emphasised.
The works illustrated in Chapter 4 can be seen as
48 instances of one parametric form. This ideal
form has been determined by decisions made by
the author. These decisions include not only which
musical parameter to map onto which spatial
parameter, but also the use of rectangular forms
rather
To a significant
than otherdegree,
shapesthen,
suchthe
as circles
shapesorof the
triangles.
virtual forms are determined by the system used,
not the music. However, the consistent use of the
same system to generate all 48 forms means that
comparison within the set will reveal the unique
identity of each prelude and fugue.
5.1.2 The Shape of Music
The spatial representation allows one to see the
whole piece of music simultaneously. At a
glance, one can compare the beginning to
theendor the middle.This is not possible when
listeningnotation
Musical to the actual
also allows
music.such time-independent
comparisons to be made, yet written music also
has limitations. The symbols used in musical
notation are a system of code, a language which
must be learnt in order to be understood. In the
words of Henrich Neugeboren, the “empty and
filled notes’ heads merely signify length of the
notes, without showing them” (Wingler 1969). Like
Neugeboren, this project seeks to reveal the
construction of Bach’s music in a direct way which
can be understood by anyone.
The formal translations reveal the shape of each
piece in its entirety. In Prelude No. 1, for example,
the music begins in a high register and steadily
moves down towards its resolution. This is
represented by the height of the forms diminishing
fromvirtual
The left to forms
right (side view)
can be as the width
contrasted increases
with one
(top view).
another to illustrate facts about the music. For
instance, the preludes tend to be more
rhythmically regular than the fugues. This is shown
in the virtual forms, which are simpler and feature
more regular formal patterns. The fugues, on the
other hand, are much more complex, as they
Subject,
include countersubject,
a number of voices. This greater
‘staircases’
complexity can be seen easily in the forms.
5.1.3 Digital process
It is interesting to note that the MIDI files are
programmed rather than performed. In fact, at no ffd8ffe000104a46494600010
stage of this project has a performer been involved. 201004800480000ffe20c5849
43435f50524f46494c4500010
5.1.4 Orientation 100000c484c696e6f02100000
Each piece has been arranged in space 6d6e74725247422058595a20
horizontally. This reflects the ‘horizontal’ linear 07ce00020009000600310000
nature of the music and leaves the forms open to 616373704d53465400000000
This is only
multiple one possible interpretation. They could
readings. 494543207352474200000000
00000000000000000000f6d60
also be shown vertically like towers (insert image).
00100000000d32d485020200
The horizontal arrangement was chosen to avoid 000000000000000000000000
the obvious architectural connotations which would 000000000000000000000000
arise with a vertical, tower-like arrangement. The 000000000000000000000000
forms reside in virtual space, so they are free from 000000000000000000000116
the restrictions of real space, such as gravity. In 370727400000150000000336
this sense, the forms are ‘pure’ crystallisations of 4657363000001840000006c7
5.1.5 Symmetry The virtual forms display a high 7747074000001f00000001462
the music.
degree of symmetry: 2-fold in the side views and 6b7074000002040000001472
4-foldin theend views.This is theresult of a 58595a000002180000001467
conscious decision to avoid any unnecessary 58595a0000022c0000001462
eccentricity, which would distract from the pure 58595a000002400000001464
Figure
form of5.1theshows
music.the end view of an arrangement 6d6e64000002540000007064
6d6464000002c40000008876
which was used in the developmental stage of
7565640000034c0000008676
the project. The final arrangement, shown in 696577000003d4000000246c
Figure 5.2, produces a more rounded and 756d69000003f8000000146d6
complete form. This arrangement is also intended 561730000040c00000024746
to be reminiscent of the manner in which sound 56368000004300000000c725
waves travel in all directions from their source. 452430000043c0000080c6754
5.1.6 Harmony 52430000043c0000080c62545
Polyphonic music has a horizontal and vertical 2430000043c0000080c746578
dimension.The voices move horizontally and 7400000000436f70797269676
harmonise vertically. Although they have a degree 874202863292031393938204
of freedom the voices are not completely 865776c6574742d5061636b6
independent of one another, they are 1726420436f6d70616e790000
interdependent.They must harmonise in order for 646573630000000000000012
735247422049454336313936
the system to be meaningful.
362d322e3100000000000000
000000001273524742204945
4336313936362d322e310000
000000000000000000000000
000000000000000000000000
00
The virtual translations show this relationship
between verticalityand horizontality. The start
andendviews ofeach form show the vertical
aspect of the music. In Figure 5.2, five rectangles
overlap to create a crucifix-like form. Each
rectangle represents a different note. When
heard, these five notes combine to form the final
chord which provides resolution at the conclusion
of the
The start
fugue.
and The
end2-dimensional
views of the virtual
shapeforms
is thus
bear
a a
visual representation
striking resemblance toof the
harmony.
crucifix plan of
churches common for most
ofthehistoryofChristianity.This
isentirelyappropriate,as Bach was a deeply
religious man who dedicated his music to the glory
of God. However, the similarity is not intentional, it
is merely a piece of serendipity which has more to
do
5.2with the
Other way the system has been set up than
Work
the spirit of Bach’s music.
This sections describes additional work done
as a part of this project, including the
production of a physical model and two
animations.
5.2.1 Physical Model A physical model of Fugue No.
1 was produced for the exhibition, Disparallel
Spaces, held during June 2007 at theTin Sheds
Gallery, Faculty of Architecture, University of
Sydney
The (Figure
model was 5.3).
constructed from 430 pieces of
laser cut plywood 1mm in thickness. Each
plywood piece represents a semi-quaver; 16 of
which make up a bar.
5.2.2 Fly-through movie The fly-through movie
shown in Figure 5.4 was produced to give a
senseof what it might be like to beinsideoneof
theforms.The Quicktime movie was produced in
VectorWorks.
One of the limitations of this project is its emphasis
on the forms as sculptural objects rather than
spaces which can be experienced internally;
architecture is as much about the interior as it is
about the exterior. However, the fly-through movie
reveals a rich spatial experience inside the virtual
forms.
Conclusion