The next part of the project focuses on a critical analysis using a number of examples to support the argument that emotions can be integrated into architecture through music and thus change the environment of a space. The next part of the project focuses on critical analysis using a number of examples to support the argument that emotions through music can exist. Due to the nature of the project, a large part of the argumentation is theoretically driven and therefore takes a conceptual-theoretical approach.
The primary research within this project includes first-hand documentation based on personal analysis of current uses and patterns of public behavior in the spaces of the identified case studies. Given the nature of the project, a large part of the argumentation is theoretically driven and therefore a conceptual-theoretical approach is used throughout. The primary research within this project includes first-hand documentation based on personal analysis of current uses and patterns of public behavior in the spaces of the identified case studies.
Secondary information is also used to provide insight into selected precedent studies through graphic, photographic and textual media, but mainly reflects personal analysis of this information, whose observations and comments constitute primary research. Environment - Impression of the environment and surroundings of a given space, as perceived by the user.
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Acknowledgements
Introduction
The next section of the project focuses on critical analysis, using a series of examples, to support the argument that emotions through music can be incorporated into architecture to change the environment of a space. Various authors of related works have influenced the project, notably Peter Grueneisen, who discussed various interrelationships between sound and space; and Juslin and Sloboda (eds.), who investigated connections between music and emotions. The aim of this project is to investigate a potential means of revitalizing these dead spaces, with music being explored as the possible key in this strategy.
It appears that the city of Durban can offer a wide spectrum of public spaces, many of which appear to be underutilized. This project examines planning decisions that ultimately lead to dead spaces, and offers alternatives for ways to avoid them. The link between music and emotion is also extensively explored, with the connectivity between the two questioned.
Aspects of music and emotion are discussed, including the psychology of both; however, these are not considered areas of primary expertise. Secondary information within this project appears in the form of published studies and research obtained through literature searches.
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1=1 MUSIC 3
Music acts as a medium, or vehicle through which the composer communicates with the listener. The composer undergoes an experience that he wishes to convey to the listener, thereby creating an article from which his desired emotional response can be simulated in others. Of course on a micro scale, each individual person is different and therefore reacts differently, but the same thing happens on a macro scale within entire cultures.
Davies explains a contrast whereby one culture may view death as an occasion for grief, while another may view it as an occasion for celebratory celebration (illustration 15).
I HAPPINESS I
1 BEATH 1
As the cochlea is stimulated by sound, patterns of electrical pulses are transmitted to regions of the auditory cortex in the brain. Pythagoras observed that the length ratios of strings, or other vibrating materials, followed simple mathematical relationships with the sounds they produced (McLaughlin, 1970: 21). Pythagoras observed that the length ratios of strings, or other vibrating materials, followed simple mathematical relationships with the sounds they produced (McLaughlin, 1970: 21).
Other key elements of the building focus more on musicology than specific artists or songs. This does well to represent the persistent energy of rock music; however, the physical form of the building contains a somewhat softer one. Illustrations 40-41 (above): External views showing the visually striking bold colors of EMP's various volumes.
Illustration 44 (bottom right): One of the facades, seemingly soft and calm - the opposite of what rock music generated. The interior architecture of the building can be handled more successfully than the exterior. The smooth exterior of the building contrasts sharply with the interior, where a more dynamic chaotic order seems to be present.
The softened liquid-like effect of different volumetric shells melting into each other fails to create the energetic dynamism of rock music. The softened fluid-like effect of the various volume fusions into each other fails to create the energetic dynamism of rock music. Located in Biel, Coop Himmelblau's Forum Arteplage Biel is one of four exhibition designs that make up Expo 2002 in Switzerland.
A long bridge connected by one of the towers stretches across the lake to connect the exhibition to the shore and complete the circle. However, the most intriguing tower is the central one, which houses a sound installation (illustrations 54-56). The other end of the exhibition, the HappyEnd, offers a wider variety of experiences, most of which are spaces designed to emotionally engage with the visitor.
One of the rooms, for example, contains a number of cords hanging from the ceiling, each one. The other end of the exhibition, the "Happy End", offers a wider range of experiences, most of which are spaces designed to engage emotionally with the visitor.
Stage Sets
He starts his process with the physical construction of the stage set designed to express a particular theme (illustration 70). The integration of the visual and aural landscape produces the desired perception in the audience, allowing them to be taken on a journey that the band wants them to experience. The relationship is shaped by the experience created through the combination of the aural and visual ambience that is generated.
While historically there was a tendency for lower income groups to live in areas closer to the CBD and more affluent groups to live further away (Breese Durban, as a result of the apartheid system, later contradicted this theory. Although historically there was a tendency for lower income groups in areas closer to the CBD, and more affluent groups live further away (Breese Durban, as a result of the apartheid system, contradicts this theory. Both cities have similar characteristics in that they both seem somewhat removed from the rest of the city.
Images 77 and 78 below show the separation of the different zones between the beach and the city. The last zone (0) is Victoria Park, leading up to the rest of the city center. Being cut off by the lack of hotels, the recreation that takes place in zone (A) is disconnected from Victoria Park and even the rest of the city.
Because it is cut off by the walls of hotels, the recreation that takes place in zone (A) is limited to the connection with Victoria Park and even the rest of the city. Illustration 85: The next step, removing the vehicular road in front of the hotels, allowing recreation to continue up to and between the hotels, creating a connection to the park. The "wall" effect was used in this area of the city as well, with a continuous line of tall buildings, only pierced at brief moments where the roads cut in.
The "wall" effect was used in this area of the city as well, with a continuous line of tall buildings, only pierced at brief moments where the roads cut in. The length of the greenbelt follows the edge of the harbor along the Victoria Embankment, and might well have been. Instead, it appears as if an attempt is being made to prevent the public from connecting with the harbour's edge, with access limited to only a few points, cutting off almost the entire length of the green belt from the water's edge.
ROAD HARBOUR!
The entrance to the harbor is limited to a single point, the rest of which is blocked by a low-level wall that runs along the green belt. Precedents are analyzed in support of the argument; however they occur in their own context in relation to their own situations and people. In general, a building is conceived as a container, protecting its internal contents from the reach of the outside world - physically, visually and aurally.
The human brain understands the information transmitted in sound without needing to know or see where the source of the sound originates (Grueneisen, 2003: 22). In general, a building is conceived as a container, protecting its internal contents from the reach of the outside world - physically, visually and aurally. The sound medium is able to cover the entire space of the park and people are able to engage with the information or sound being broadcast without having to be in close proximity to the source.
The auditory medium can cover the entire space of the park and people can engage with the information or sound being conveyed without having to be near the source. This would allow the vast majority of the public to respond to a calculated design in the corresponding predicted way. The complexity and capabilities of the human auditory system go largely unnoticed and unaware of its functioning.
The complexity and capabilities of the human auditory system mostly go unnoticed and we are unaware of its functioning. Reflected sounds can also be adjusted based on the surface treatment of placed obstacles, which further shapes what we hear. Natural sounds are generally accepted as part of the environment and are rarely considered particularly disturbing (Grueneisen, 2003: 55).
The sound of the ocean, or flowing water in general, is often used as a calming agent. Naturally occurring sounds are widely accepted as part of the environment and are rarely considered to be particularly disturbing (Grueneisen, 2003: 55). Similarly, sounds could be used to inform people about the nature of the space they were about to enter.
Bibliography
