Music is experienced over time, whereasĪrchitecture is grasped as a spatial whole Its spatial proportions of width to height - 1/2.7 - enhance its Notre Dame nave, the canonic view experienced as a whole. In an era when museums and other building types emerge as a suitable place for musical ornament, and when expressive shapes can be produced digitally, architecture could reach its supreme condition once again and become its own particular kind of music. Their shared concerns can be seen in ceremonial architecture from the ancient Brodgar Stone Circle to concert halls, in structures that heighten the senses and make one perceive more sharply and emotionally. Many qualities unite these two art forms − and quite a few make them different − but it is the former I find compelling today. Indeed architecture as ‘frozen music’ had a long history of tracking its sister, the parallel art of harmonic and rhythmic order. Pater’s aphorism became a good prediction of the zeitgeist and the goal for abstract art in 30 years as the painters in Paris and elsewhere pursued a kind of visual equivalent of musical themes, and Expressionist and Cubist architects followed suit. ‘All art’ Walter Pater famously observed in 1877, ‘constantly aspires towards the condition of music.’ Why the music envy? Because, the standard answer goes, in abstract music the form and content − or in its case the sound and sense − are one integrated thing. Now, through digital expression, architecture can attain new heights of creative supremacy As abstract art forms based on rhythm, proportion and harmony, architecture and music share a clear cultural lineage.
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