Historically there have been various artistic attempts to relate sound and space, or sound and image, and attempts to create one based on the other. Many of the works have been on an emotional level, where it has been attempted to recreate the personal feeling of a piece in one medium by the means of another medium. However there have also been attempts to apply the same compositional tools to works in the different disciplines, or to transform a work from one medium into another by means of specific transformation rules and principles. The work of architects at Orproject, the author’s office, is specifically interested in the latter, in order to transform music into architecture and vice versa. To gain an understanding of how those transformations can happen, and to judge their success in the creation of architecture, this paper analyses different translations between sound and form from a semiotic perspective. The theories of Charles Sanders Peirce and Nelson Goodman are used to analyse the different results and the different ways in which those translations can be achieved. Applied to the work of Orproject, the analysis is then used to judge the relevance of using music as a means for architectural form finding.
|Keywords:||Architecture, Music, Orproject, Anisotropia, Design, Sound, Algorithmic, Digital, Semiotics, Peirce, Goodman, Notation, Klee, Mussorgsky|
Director, Orproject, Beijing