Music And Architecture Pdf

[Kym Wash]

Charlesis particularly acclaimed for his musician portraits which are in constant use by conductors, soloists, orchestras, and directors worldwide. His landscapes have been featured in National Geographic and he continuously explores new locations, subjects and styles.

In the last 20 years he has lived in Australia, Taiwan, China, Chile and Brazil, and worked in dozens of other countries. In 2016 he returned to his native New Zealand to offer his distinct and dramatic photography style to New Zealand clients for the first time.

On May 21, a devastating flood destroyed our Architecture In Music Studio in New Zealand, along with our cars and house. Despite this, our printers remain operational. To assist with our relocation efforts, we are offering a 33% discount on all items.

"The astonishing array of shots, each compiled from hundreds of separate images, show in brilliant detail the 'vast and cavernous' spaces inside the instruments, appearing to replicate cathedrals and grand palatial hallways."

Charles's intricate process, using specialist medical lenses and high resolution cameras, blends hundreds of images to forge each stunning illusion of space. Immerse yourself in a visual symphony where music meets art.

Artist Charles Brooks is one of the most published photographers on earth. His 'Architecture In Music' series has been reproduced in news and magazine print a staggering 16 million times since 2022.

I am thrilled to announce the launch of my 2025 calendar! This is the most affordable way to bring my artwork into your home. Each calendar features 13 stunning shots, including some extremely rare instruments from the New Zealand Symphony Orchestra and the New Zealand String Quartet.

Stunning posters on a fine lustre paper. Produced by the artist in New Zealand. A light sheen adds depth and contrast with superb colour and detail. These 16 by 20 inch prints will fit a standard frame.

His Architecture In Music series is showcased in leading galleries and museums worldwide, and in 2023, the French state of Alps Maritime acquired a significant portion of his oeuvre for permanent public display.

Brooks' transition from an accomplished cellist, with principal positions in symphonies across China, Chile, and Brazil, to a full-time photographer lends a unique depth and authenticity to his art. His intimate understanding of music and craftsmanship resonates through his photographic work.

Reproductions from this photographic series have graced the pages of major international newspapers and magazines, including Germany's "Die Zeit" and "Der Spiegel," Italy's "Lonely Planet," the Vatican's "L'Osservatore Romano," and the UK's "The Telegraph" and "Daily Mail," along with significant exposure in hundreds of other publications across Canada, Korea, Iran, and more.

As abstract art forms based on rhythm, proportion and harmony, architecture and music share a clear cultural lineage. Now, through digital expression, architecture can attain new heights of creative supremacy

Notre Dame nave, the canonic view experienced as a whole.

Its spatial proportions of width to height - 1/2.7 - enhance its

spiritual meaning. Music is experienced over time, whereas

architecture is grasped as a spatial whole

Temple of Concord, Agrigento, Sicily, 450 BC. This view shows

the Pycnostyle in front, and a screen of flutings on the side,

because of viewpoint an even faster beat. Pythagorean

proportions of column to intercolumniation, front to side, and

width to height (roughly 2:1 here) also determine many other

relationships of the Greek temple

Evolutionary series of the High Gothic over 60 years. The

horizontal emphases are in green, the vertical in red, the

oppositions are pushed to greater and greater pitch, as the

dialectic of visual forces dissolves the wall. For instance,

note the central colonnette of the Amiens triforium that is thicker,

like the one Villard drew at Reims to show the vertical emphasis

Notre Dame interior, bay rhythm and its three superimposed

levels. Each of these horizontal areas can be seen as a different

choral voice. At the time, 1240, the composer Protin was

superimposing one plainsong chant on top of another: musical

and architectural harmony developed in parallel through notation

systems. The notebooks of Villard de Honnecourt, circa 1240,

show the nave elevation of Reims cathedral, and reveal that he

appreciated its rhythmical subtleties

Sauerbruch Hutton, Brandhorst Museum, Munich, 2008-11. The

stripes of colour are tilted in horizontal layers to deflect the road

noise from the museum and muffle it, a clever invention that won

the competition for the architects and, as a by-product, created

the haunting set of joyful illusions that change with the distance

of the observer. The sliding and shifting between visual chords

here produces a literal version of musical chromaticism, the

blending of colour overtones

Creative background art raises another perplexity. Architecture has a required flip-mode that seems to be unique, and appreciated for so being. It is admired for being an artistic foreground but, with a shift in perspective, it flips into the background and becomes valued as urbanism. This change is not demanded of sculpture, or painting (unless a Tiepolo ceiling), or music (unless performed for special circumstances). The flip mode as contextual counterpoint will be considered next, but there are several designers who have built a background contextualism that still remains interesting, and relevant ecologically: Alison Brooks, Bill Dunster at BedZED, and above all Alan Short, who has worked at impossibly constrained sites with low budgets. For instance, his building for Slavonic studies, in a traditional London brick context, produces a low-key music. It manages to squeeze extra floors and numerous eco-requirements into a streetscape while also giving an understated rhythmical complexity that enlivens the long city block: vertical, horizontal and even diagonal patterns of movement.

Reading horizontally gives some basic melodic lines, while

reading vertically reveals both harmony and dissonance.

But the large contrasting blocks of colour and material are like

the strong Stravinsky chords, the violent instrumentation of

The Rite of Spring

As often pointed out, a scientific analogy between two things is good if it is reduced to one or two qualities of comparison, whereas a cultural analogy can be better for revealing many parallels, as long as the differences are acknowledged. With columnar and window architecture, with buildings that have structural bays and tectonic articulation, the rhythmic parallel to music is narrowly scientific and precise. While it is true relationships change as you move through a building, you can stand still and read the facades of a bay like a musical score, one of the great pleasures of traditional architecture. Even more musical in rhythmic complexity and delight is the Grand Canal in Venice, which can be experienced as one long symphonic transformation of related themes.

Five melodic voices are in Contextual Counterpoint, like the

CaixaForum. This architectural genre starts with the work

of Venturi and Stirling in the 1970s, but here in Paris it reaches

greater subtlety. Note the shades of grey, black and silver;

they add harmonic overtones to what might have been the

boredom of prefab repetition

Le Corbusier, La Tourette, France, 1953-61. Pure volumes in

proportion to each other and dissonant; regular harmonies and

rhythms set against atonal and serial window verticals designed

by Xenakis; Classical squares, cubes, pyramids juxtaposed

with discordant slashes and diagonals

Coop Himmelb(l)au, Dalian Conference Centre, China, 2008-12.

A continuously changing surface that rises and falls and bulges

in the middle to include a theatre and opera house. Organised

like block chords of music that open up and close, it is reminiscent

of both Wagnerian chromaticism and the tonal melding of

Philip Glass and John Adams

Coop Himmelb(l)au, Dalian Conference Centre, China, 2008-12.

The interior contains big booming bass notes in the form of solid

elements in correlation with twinkling notes created by the

punched out light fittings

Pleasure of anticipation

The idea of such a time-imperative may be unexpected and alarming. But it is based on the truth that the body is as much a futurist as the mind. We project forward the next hour, minute and second to anticipate the flow of information, and that can be a matter of life or death. In sports it is well known that our body anticipates the pitch of a baseball, the slap of a hockey puck, the serve of a tennis ball much faster than we can think about it, and the reaction is often most skilful when most brainless (or on auto-pilot). It is often said that if you ask a centipede in which order it moves its hundred legs it freezes.

At the heart of the Dalian Conference Centre is a traditional

horseshoe shaped auditorium with a capacity of 1,600 seats.

The classic auditorium is reinterpreted for the modern era, with

riotous decor and acoustically pimpled surfaces. Here there is

tonality, but it is always melding; there are rhythms, but they

are always morphing

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