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This project uses the translation of music into architecture in a way close to the perception of architecture. The translation is seen from an architectural point of view, where music is animated along a path similar to a body´s movement through space. However, architecture is seldom experienced as one spatial sequence, but as several independent systems interacting within a given form. Therefore, the animation is made from 80 different independent systems, interacting when played.
On basis of the deployment of the architectural programme on the site, music is composed to control an animation of the building, where each instrument controls a choreographed spatial sequence. By animating the music along the paths of the programme it is possible to translate the music into an animation of a choreographed spatial sequence.
One system can be set up to perform live, by recording music into 3D Studiomax, where the sound affects the dynamics of a particle system, which are deforming an object. However, when using 80 simultaneous systems, sound has to be recorded in advance, in order to affect 80 different particle systems animated along 80 different paths. The timeframe for the animation is the time it would take a person to move from the street to any given room along the programme deployed on the site.
The output of the animation holds an architectural quality difficult to describe without referring to the music animating it. However, the animation in itself is highly influential on the final outcome. It is easy to recognize the features of the animation with the different paths and dynamics of the music working along it. Nevertheless, the architectural result is without reference, and therefore holds a potential, being the output of a process, the designer could not have predicted when it was initiated.
The output has then been developed according to other architectural effects like materiality and light. Still, the atmosphere of the architecture is faithful to the atmosphere of the original music, and the architecture is truly a product of the musical point of departure and the dynamic animations.
Conclusion
The perception of music and the perception of architecture differ in the way the body relates to the art forms. Nevertheless, if you take either point of departure, the output of the translation from music to architecture holds a spatial value without reference to other architectural projects. The outcome is unpredictable in the sense that the designer cannot predict the output, when the process is initiated. However, the spatial atmosphere created in the hotel project, where the music is static and the architecture is dynamic, reveals a more direct relationship between music and architecture, as opposed to the housing project, where the animation on its own has more influence.
As a design tool, the dynamic animation of the architecture based on music definitely creates a spatial atmosphere without reference - a quality of space that cannot be obtained by other means. The quantitative parameters of music production influence space in a way that the inherent qualities are transmitted as well. However, this is an irreversible process, where one can use the quantitative parameters to create quality, but it not possible afterwards to analyze the qualities and reproduce them. It is only possible to recognize the qualities and accept them as present because of the translation of music into architecture.
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