“I’m particularly interested in Xenakis because of his constant effort to relate the seemingly incompatible structures of music and architecture. Music has been a perpetual fascination of architects, from the harmonic proportion systems of Alberti and Palladio to contemporary “musical” buildings by Steven Holl and Daniel Libeskind. Each time musical form is applied to architecture, the parameters of the transference must be carefully defined; in the process, new understandings of the spatial and temporal manifestations of art are uncovered. In exploring the “joints” or areas of conceptual congruency between music and architecture, Xenakis identified new modes of formal translation and a new paradigm of musical “space.”
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