bruges, music, and the space between: an architectural thesis
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EXPLORING RELAIONSHIPSOF BRUGES, MUSIC, AND HE
SPACE BEWEEN
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EXPLORING RELAIONSHIPS OF BRUGES, MUSIC,AND HE SPACE BEWEEN
A Design Tesis Submitted to theDepartment o Architecture and Landscape Architecture
o North Dakota State University
By
Isaac Karley
In Partial Fulfillment o the Requirements
or the Degree oMaster o Architecture
May 2014Fargo, North Dakota
Primary Tesis Advisor Tesis Committee Chair
Cover- Figure 1- Bruges alleyRetrieved rom visitbruges.be
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Signatureables o Contentsables & Figures
AbstractProblem StatementStatement of Intent
Proposal
NarrativeUser/Client DescriptionMajor Project Elements
Site InormationProject EmphasisPlan or PrecedingProgram
P/UI ResearchCASE SUDY: Daeyang House &GalleryCASE SUDY: Villa MalaparteCASE SUDY: Salk InstituteCase Study SummaryHistorical Context
Goals or ProjectSite Analysis
Site NarrativeQualitative Site AspectsQuantitative Site AspectsFigure/GroundClimate & Site GraphsSite PicturesProgrammatic RequirementsProgrammatic RelationshipsDesign
Te ArteactTe ExperienceProcess ModelsFinal PresentationNotesReerence ListPrevious Studio ExperiencePersonal Identification
ABLE OF CONENS
Figure 2- 1334Retrieved rom visitbruges.be
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Figure 23.Figure 24.Figure 25.Figure 26.Figure 27.Figure 28.Figure 29.Figure 30.Figure 31.Figure 32.Figure 33.
Figure 34.Figure 35.Figure 36.Figure 37.Figure 38.Figure 39.Figure 40.Figure 41.Figure 42.Figure 43.Figure 44.
Musurgia universalis1572Bruges roofopsSteven holl sketchSketch o modulesDaeyang reflectionSymphony o modulesDaeyang ceilingEntranceDaylightCirculation
GeometryStructureHierarchyMass & sitePlan to sectionMalaparte stepsMalaparte rooIsolatedInteriorJean-luc godardDaylight
LIS OF ABLES AND FIGURES
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Figure 1.Figure 2.Figure 3.Figure 4.Figure 5.Figure 6.Figure 7.Figure 8.Figure 9.Figure 10.Figure 11.
Figure 12.Figure 13.Figure 14.Figure 15.Figure 16.Figure 17.Figure 18.Figure 19.Figure 20.Figure 21.Figure 22.
Cover image1334ReflectionsHotel prisenhoBruges concert hallRooflinesClay tilesCanal homesConcertgebouwEurope mapBruges map
Bruges aerialChurch o our ladyLes demoiselles davignonAlbert einsteinKen & RayScheduleSe grada amiliaSe grada statuesKln cathedralKircher & the earLucca choirbook
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Figure 45.Figure 46.Figure 47.Figure 48.Figure 49.Figure 50.Figure 51.Figure 52.Figure 53.Figure 54.Figure 55.
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Figure 78.Figure 79.Figure 80.Figure 81.Figure 82.Figure 83.Figure 84.Figure 85.Figure 86.Figure 87.Figure 88.
GeometryCirculationStructureHierarchyMass & sitePlan to sectionFifh acadeSalk materialsSalk instituteStairwayConcrete corridor
wo viewsDaylightCirculationGeometryStructureHierarchyMass & sitePlan to sectionExperience daeyangSalk sunsetJeruzalemkerk
Te betrothalMusical measureMystic lambSt. bavo cathedralArnolfiniArnolfini mirrorLucca choirbookTe betrothalChannel orangeBruges at nightBruges sun
CourtyardDream bridgeSunny canalSide streetCity squareFigure/groundSun hoursWind speedRelative humidityPrecipitationAvgerage temperature
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Figure 122.Figure 123.Figure 124.Figure 125.Figure 126.Figure 127.Figure 128.Figure 129.Figure 130.Figure 150.Figure 161.
Concert sectionPerormance stageLower level planDay perormanceNight perormanceEntrance v iewStreet level planListening loungeSecond level planVocal boothTird level plan
Live roomMixing roomArtist studioFourth level planNotationsHVAC sectionHVAC planStructure sectionProcess modelsPresentation imagesPersonal image
LIS OF ABLES AND FIGURES (CON.)
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Summer solsticeEquinoxWinter solsticeSun path diagramWind roseWind directionNoise & topographyNW site cornerSW site cornerSouth site edgeSite alley back
Site alleyView southView northNorth street photoo city centerPre-design matrixPre-design spatial layoutArteact set-upArteact perormanceTe ChordMusic in bruges
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ABSRAC
DEFINE
PROBLEM SAEMENTis thesis explores music and art in Bruges,Belgium and how it has shaped the city tobecome what it is today. It is only throughthis awareness o the past, and how it relatesto the present, that new pieces can be createdin such a way that will actively preservethe citys past culture while simultaneouslycreating a path or the city to once again beconsidered a cultural hub o northwesternEurope.
synesthesia
rom the ancient Greek [syn], [aisthsis], sensation
1. the phenomenon in which stimusensory or cognitive pathway leadinvoluntary experiences in a seconcognitive pathway.
How does Architecture create a physical limitto explore how music, art, and architecture all
stem rom the same synesthetic dimension?
Figure 3- ReflectionsRetrieved rom bezoekers.brugge.be
Figure 4- Hotel prisenRetrieved rom best2013.eu/ve
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SAEMEN OF INEN
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PROJEC YPOLOGY
CLAIM
ACORS
ACION
OBJEC HEOREICALPREMISE
PROJECJUSIFICAION
MANNER
Music perormance venue andstudios/public galler y
Tis project hopes to create anarchitecture that promotes theadvancement o art and musicwithin an historic setting, whilequestioning the way architecture,art, and music all stem rom thesame synesthetic dimension oexperience.
Musicians, artists, and the public.
Te architecture hopes toprovide a physical space thatinvites creativity throughimagining past experiences anduture opportunities.
An experience that resonateswith music and art throughmany different aspects o thedesign. Old and new, ormand structure, materials andlayout, light and shadow, soundand touch, people and the art,all work together to create anexperience like musical harmonythat can only be expressedthrough lived physical space.
Any new creation that holds asignificance in the culture oits present, relates old ideas,
thoughts, or palpable things tothe place in the time in which it
was created. Bruges is a beautiulcity shaped by its past. It was
once a cultural hub o northernEurope. However, it is no longerso significant in terms o its role
in the advancement o currentculture. I the city wishes to
return to that idea o itsel, itmust create new great things.
It is through the spirit o makingand doing that the city was ableto create a place we can admire
today. However, in order to trulypreserve its history, it must be
done so in an active way, throughcreation, thus returning the
spirit o making to a city thathas simply become a beautiulmuseum to understand a past
culture.
Creating architecture that can
provide and call attention to thespatial limits o the buildingby exploring perceived timethrough dramatic architecturalgestures, which incorporate theblending o sound and light.
Figure 5- Bruges concert hallPhoto by Isaac Karley
Figure 6- RooflinesPhoto by Isaac Karley
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PROPOSAL
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NARRAIVE Bruges, Belgium is a place that Ilove, and I might even go so aras to say that its my avorite placeIve ever been. When I traveledthere or the first time, abouta year ago, I was astonished athow surreal it all was. As we lefthe train station and made ourway over the canal and into themedieval city, it elt like I was ina airytale. Trough the reezingog, you could hardly make outthe beautiully detailed brickbuildings that lined the windingcobblestone roads, always leavingme to wonder what was aroundthe next corner. I couldnt helpbut turn to the person I was withand say, Ken, I know Im awake,but I eel like Im in a dream1.
While I was already in Belgiumor a school trip, I made a pointo traveling to Bruges as soon as I
could. Afer seeing the movie InBruges, a very dark comedy thatuses the setting o the medievalcity as a character as much asit does a place or the story totake place, I had to go to see itor mysel. And I have to saythat, writer and director MartinMcDonagh, got it so perectlyright. He tells the story o twohitmen rom Dublin who areorced to hideout in Bruges afera hit goes horribly awry. Te hit,which the audience learns a littlebit into the movie, involved theyounger o the two men, Ray,who had been ordered to kill apriest. However, in the process odoing so, he accidentally kills alittle boy who was conessing hisown sins, kneeling in ront o thealtar. Tis causes Ray to spiralinto a suicidal depression as hetries to reconcile his view o
himsel, as a person with decentmoral standards, with the act
that he just killed a child.
Te plot o the movie onlyunolds through getting to
know the characters, who aresurprisingly human consideringthe line o work they are in. You
learn almost immediately thatRay is not at all excited about the
prospect o staying in Bruges, aplace he cant possibly imagine
could hold his attention or twoweeks, with Ken, his business
parter, who is rather excited ashe proclaims, Bruges is the most
well-preserved, medieval townin the whole o Belgium!. As
they travel throughout the cityand sightsee, Bruges becomes a
third character which you beginto know and understand through
the dialogue between Ken and
Ray. It becomes quite clear,through how each o the two
men interact with the city, thatit is a popular tourist attractionthat seems to take pride in the
dream-like qualities one mightinterpret.
While the movie In Bruges wasthe way in which I was initially
introduced to the city, I wasorced to understand Bruges
through the story MartinMcDonagh chose to tell. It then
inspired me to travel there,which ultimately birthed an ideaor me to base my Architectural
thesis on. So, when I returnedto the U.S. and started work onthis project, I needed to deepen
my knowledge o the city inorder to ground the work that
would come. Tis led to a senseo initial rustration, as I was
Figure 7- Clay tilesRetrieved rom bezoekers.brugge.be
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only able to urther understandthe city through whatever I couldfind on the subject; I was againorced to see Bruges throughother things, i.e. books, art,music, and architecture. Tis,o course, is the only way wecanlearn about something thatwe cant directly experience,whether that limitation existsbecause o physical distance orthe passing o time. Tis initialdilemma, in act, led me to some
very interesting texts and piecesthat helped me see just howsignificant the city was duringthe 14th and 15th centuries, and,in turn, has helped me see Brugesthrough a lens o my own.
Filled with art, architecture,churches, and music that hada heavy hand in affecting thecultural and economic landscape
o northern Europe in the earlieststages o the Renaissance period,it is hard to dismiss Bruges asan historically significant place.Whether you personally agreewith Ken or Ray on the valueo its beauty to your ownexperience, it seems as thoughthere are plenty o people in theworld that dovalue its beauty.As the city depends on mucho its current wealth throughtourism and shopping, Brugeshas been extremely successulin revitalizing a vibrant culturewithin a city that has had s ometough economic times in the lastcouple hundred years.
While Bruges has gainedprevalence once again as adesired destination or peoplerom all over the world, it haslost its sense o urgency to
continually grow within thecurrent context o a world
culture. It has ound its nicheas the most well-preserved,
medieval town in the whole oBelgium (McDonagh), whichhas provided a beautiul placeto visit, but seems to have lostsight o the act that the city isa physical creation o a vibrant
cultural and economic spiritthat pushed creation in the first
place. It is not viewed by the resto the world as a place that is
relevant in the current culturallandscape o northern Europe,
which is another aspect that themovie In Brugesis also great atcapturing. Tis is seen through
Rays obvious lack o respector Bruges, and little pieces o
dialogue rom other charactersin the story, as evidenced in the
statement, Why would youever need to go to Belgium?.
It is important to note that itis obviously not Paris, Milan,
Barcelona, or New York; citiesthat continually supply the world
with new ideas, products, andsources o inspiration, neither
should it seek to be. Whatis important to understand,however, both or the world
and more specifically or Brugesitsel, that it was at one pointconsidered a major influence
on the advancement o culture.In order to preserve the city, as
organizations like the UnitedNations Educational, Scientific
and Cultural Organization(UNESCO) have begun to do,
we must look beyond simplypreserving and restoring the
physical character o the city andstart a conversation about how torevitalize the spirit that made the
city eel like it does today, like aairytale.
Figure 8- Canal homesRetrieved rom astcompany.com
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USER/CLIEN DESCRIPION
OWNER
MAJOR PROJEC ELEMENS
CLIENS
EMPLOYEES
PERFORMANCE
SUDIOS
APARMENS
Te owner o this building wouldbe something o an art directorthat is knowledgeable aboutmusic and art.
Te users o the building wouldbe the public and differentartists, both musicians andnon-musicians, that would beinterested in renting out thestudio and perormance spaces
or any duration o time.
Te employees o this acilitywould include the director andany sort o acility managementor employees that the directorwould choose to employ to helporganize events, spaces, andclasses.
While Bruges already has a largerconcert hall or more ormalmusical events, this buildingwould provide an additional
space or concerts and musicalperormances. Tis venue would
differ rom the existing concertspace in Bruges; it would be
more catered to the creation andperorming o music that is more
prevalent in todays popular
culture as the city currently lacksspace or such artists to perorm.
Studio spaces or musiciansallow this building to becomenot just a museum or past ideas,but rather or establishing acontinuum between past andpresent creations. It is the hopethat the work which would comeout o this building could help
return to Bruges the creativespirit that helped create the cityin the first place.
wo apartments would offer aplace or musicians and artiststo stay while doing there work.Tis allows or this building tobecome not just a stop, but adestination that is conduciveor artists and their work habitsduring their stay in Bruges.Figure 9- Concertgebouw
Retrieved rom spectable.be
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SIE INFORMAION REGION Flanders, located in northernBelgium
Belgium, located in northwesternEurope, is split up into twodifferent regions. Te southernpart o Belgium, knownas Wallonia, is a primarilyFrench-speaking area, whilethe northern part, known asFlanders, primarily speaksDutch. Brussels, the countryscapital sits in the middle o
Belgium and becomes a sorto melting pot between thetwo different regions andtheir cultures. As with manyplaces in Europe, space is quitecondensed. With anticipationo an influx o new immigrantsto Belgium, many people inFlanders believe that they willhave an issue supporting an ever-growing country.
Figure 10- Europe mapRetrieved rom Google Maps
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SIE INFORMAION HE CIY Bruges, Belgium
Te city o Bruges, Belgiumis located in Flanders and is aUNESCO World Heritage sitewhich is highly protected andextremely well maintained. Hereis an excerpt rom UNESCOswebsite about the city:
ourism, in the orms oshopping, dining, andsightseeing, is a major industryin the city. Tough this projectmight seem to go against theidea the city has or its uture,
Bruges is an outstanding example o amedieval historic settlement, which hasmaintained its historic abric as this has
evolved over the centuries, and where originalGothic constructions orm part o the townsidentity. As one o the commercial and culturalcapitals o Europe, Bruges developed culturallinks to different parts o the world.
it is worth recognizing thatpreserving a culture through
the making o new, historicallyconscious works, can be more
valuable than mere restoration.Figure 11- Bruges map
Retrieved rom Google Maps
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SIE INFORMAION PLO 5 KatelijnestraatBruges, Flanders, Belgium
Te site is surrounded by manybeautiul and historic buildings,including a major church, TeChurch o Our Lady, as wellas one o the oldest hospitalbuildings in Europe, whichnow serves as one o the citysmost well known art galleries.Currently, the site sits empty inplace o a ormer 5-story mixed-
use building and is surroundedby many different shops, localbusinesses, apartments, andtourist attractions.
Figure 12- Bruges aerialRetrieved rom Google Maps
Figure 13- Church oRetrieved rom keungatimec.b
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PROJEC EMPHASIS Creating a building that isconscious o and reflects onthe past in its own identityand rames moments o thecitys history, both through itsarchitecture as well as throughthe works presented and createdwithin it.
1. Pieces and ideas o differentgenres being displayed withinthe building is essential orillustrating the act that great
pieces o work take manydifferent orms. Any one personcan draw creativity rom any onework, whether it be a painting,building, or a song.
2. It is only possible to be awareo what the uture could hold orully understand how one relatesto the present i they have agrounded understanding o whathas come beore.
Figure 14- Les demoiselles davignonRetrieved rom arts.wincn.com
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DESIGNMEHODOLOGY
DESIGN PROCESSDOCUMENAION
Troughout the design andresearch I will employ a mixed
methodology o quantitative andqualitative research. Tis will
be done through a concurrenttransormative strategy guidedby the Teoretical Premise andUniying Idea. Troughout the
entire process, I will constantlybe analyzing, interpreting, and
reporting results rom statistics,
interviews, case studies, directobservation, and archival
searches.
In order to document the entireprocess, I will be reading,
sketching, journaling, takingpictures, creating videos, making
music, or anything that seemsnecessary to the project and to
the process.
A PLAN FOR PRECEDING
RESEARCHDOCUMENAION
Te majority o my research willbe ocused on the relationshipbetween architecture, art, andmusic; the known and theunknown. I will look at howthat relationship has evolvedthrough time and what are thecurrent trends when looking tothe uture. Research will also beconducted through a series ocase studies about new buildings
and renovations in the city oBruges to help understand howcurrent architects are dealingwith the challenges offeredby strict design restrictionswithin the city. Te case studieswill also be ocused towardsmuseums and different types operormance acilities.
Figure 15-Albert einsteinRetrieved rom hohoa.org
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26 Figure 16- Ken & RayRetrieved rom mymediawelt.de
Figure 17- ScheduleGraph by Isaac Karley
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PROGRAM
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HEOREICALPREMISE/UNIFYING
IDEA RESEARCH
Structures provide a place orus to dream, to imagine, tolearn, and to dwell. Whether itbe through a city, a building, apainting, or a piece o music,harmony between ourselves andthe world is achieved throughhow one interprets the spacewhich they inhabit. Tesespaces, defined by city streetsand building acades, alleyways,courtyards, church bells andtheir music, columns, bricks,
light and shadow, museums andtheir artwork, all occur in anexistential realm, but gain theirsignificance through how weinteract with them. Althoughthe modes o representationare quite different, the languagebetween all three, i.e. art,architecture, and music, are quitesimilar. While structure can bemade up o whole notes and
hal notes, canvases and oils, orcolumns, walls, and floor plates,color may be articulated throughdifferent chords, deep yellowsand blues, or the juxtapositiono new and old materials. Anda third element, time, may beexperienced by musical measure,a cubistic representation ofigures, or by the articulation ohow light moves across the aceo a wall. It is through our sensesthat these elements are capable o
movingus and dramatizing ourexperience o the world.
Te Senses and Our Experience
Our reason may be capableo dismissing the qualityo the built environmentas central to our spiritualwell-being, yet our dreams
Figure 18- Se grada amiliaPhoto by Isaac Karley
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and our actions are alwaysset in place, and our
understanding (o othersand ourselves) could simply
not be without significantplaces. () Architectureis maniest to those rare
places that speak back tous and resonate with our
dreams, it incites us to realmeditation, to personal
thought and imagination,opening up the space o
desire that allows us to beat home while remaining
always incomplete andopen to our personal death,
unveiling a glimpse o thesense o existence. We are
first and oremost mortal,sel-conscious bodies
already engaged with theworld through orientationand gravity. As embodied
consciousness we are deeplyintertwined in a given
world, in an unarticulated,preconceptual ground
that depends greatly uponarchitecture as the external
order, one primarilyresponsible or making our
limits present.
In this quote, romArchitectureand the Bodyby Alberto Prez-
Gmez, he speaks o how
architecture allows us to dreamand to imagine. He explains
that it resonates with memoryand demands o us that we
imagine such memories in thenew space created by the work
we are interacting with. Tesethoughts can eel like they can
last or an eternity, however,Prez-Gmez argues that it, in
act, makes you more acutelyFigure 19- Se grada statues
Photo by Isaac Karley
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aware o the space you inhabit,not just physically, but also intime. Te realization or extremeawareness that the architectureprovokes, helps the users tounderstand their position inthe space, which, inescapably,occurs at an exact moment; onethat will never be the same onceit is gone. Tough Prez-Gmezmay be speaking, in this context,solely o architecture, it shouldbe noted that buildings are not
the only things that can causethis same experience. A greatpiece o music or artwork iscapable o doing exactly the samething by opening up a spaceo desire that allows us to be athome while remaining alwaysincomplete and open to ourown personal death, unveiling aglimpse o the sense o existence.However, the point that Prez-
Gmez makes, which separatesarchitecture rom other modeso experiential interpretation, isits ability to physically make ourbodys limits present, throughthe maniestation o walls, floors,roos, and windows. JuhanniPallasmaa can be looked to inorder to explain this urther.In his book Eyes o the Skin,Pallasmaa makes a very similarpoint, but instead o using theterm, embodied consciousness,
like Prez-Gmez does, heexplains it more simply as ourbodily senses. He explains,Every touching experience oarchitecture is multi-sensory;qualities o space, matter andscale are measured equallyby the eye, ear, nose, skin,tongue, skeleton and muscle.Architecture strengthens theexistential experience, ones
Figure 20- Kln cathedralPhoto by Isaac Karley
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sense o being in the world, andthis is essentially a strengthenedexperience o sel (Pallasmaa,1996).
While we can understand thatthe senses obviously play abig role in how we experiencethe world, we simply cantdismiss the way a piece oarchitecture, art, or music affectsour imagination through thesenses. Te connection between
what we experience with ourbodies and what we are called toimagine, both in our memoriesand in an imaginative uture,are inescapably interconnected.Tis notion that our bodies areundoubtedly linked with thethings that define and color ourdaily existence is not a new ideaby any means. Tese ideas have,in act, been studied or centuries
by some o the greatest thinkersthe world has ever seen. It is onlyuntil the last couple hundredyears that we have begun toseparate what we experience withwhat we can explain as scientificact.
Jean-Philippe Rameau, a Frenchcomposer and music theoristrom the Baroque era, exploredmusic and its ability to interactwith both the rational and
experiential world. By examiningharmonic sounds as a basicprinciple o music itsel, hedemonstrated that one is able tomathematically divide a stringto produce simple and complexmajor and minor chords, whilethat same person, could huma note and switch their tone toits fifh without being a trainedmusician. o him, and many
Figure 21- Kircher & the earRetrieved rom g alleryhip.com
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other philosophers throughouthistory, the very nature o
musical harmony and its abilityto be so easily demonstrated boththrough our bodies as well as in a
completely mathematical realm,deemed it as a maniestation
o both natural and revealedtruth. Tey, in act, believed
that this collection o truthsvalidated music and harmony assomething created or us rather
than by us (Dodds, 2003).
Athanasius Kircher, a 17thcentury German polymath2, wasone o the last known people to
try and connect everythingin ourworld together, i.e. our senses,
art, architecture, music, science,etc. Trough his research, he
was convinced that music wasimmensely important to ourunderstanding o everything
around us. He was able to relatemusic to the human body
by comparing the requencyproduced by a string to the
requency traveling through theair. He argued that the requencytraveling outside o the ear in theorm o waves, was proportional
to the requency that affectedthe inner eardrum, and this
sound, or vibration o air, createda tone. As Michael Spitzer
goes on to explain in his book,
Metaphor and Musical Tought,Kircher believed that only thesoul is able to make sense andcount the tones, as the mind istoo imperect to do so. What
Kircher was in act arguing, wasthat our experience o pitch isnot something we can always
make sense o in logical terms,but rather, it is something thatemotionally affects us. Spitzer
Figure 22- Lucca choirbookRetrieved rom Music in Late Medieval Bruges
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continues by pulling piecesrom Kirchers multi-part work
Musurgia Universalis, by stating,From pitch Kircher proceeds tothe affections, and transers the
model o string tension to thedomain o emotional arousal,the nerves and muscles in the
human body are moved by musiclike the strings o an instrument.Tus we experience joy when the
spirits o lie are extended, andsorrow when they are contracted.
Kirchers theory o musicapatheticaportrays the body o
the listener as an object assaultedby sound, in a state o constant
excitement and agitation(Spitzer, 2003).
A Different World View
As it was briefly touched onbeore, there did not used to
be such a separation betweendisciplines like there is today.
Beore the Scientific Revolution,societies thought o music,
architecture, art, religion, andeven science, as all related to
one another. Cultures used tomake paintings to communicate
with the heavens, which theywould sing songs about, or
would build architectural spacesto create a house where the
populous could have a divine
experience. Many o the worldsbest thinkers, like Copernicus,
Kepler, and Kircher, even spokeo the earth and the planets usingmusical or mythical terms3. Tey
ofen pondered as to how theywere all related to our personalexperience and how they could
be used as a means o explainingthe world in theological terms.
Tese things werent merely usedFigure 23-Musurgia universalis
Retrieved rom 3trior.com
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comortable living environmentas well as a more scientificallyaccurate understanding oourselves, the Earth, and oursolar system.
However, this ability tounderstand our world in parts,and each part as extremelyactual and accurate inormation,has by its very nature, causedus to lose sight o the worldas a whole. In doing so, it has
hindered our ability to see therelatedness o things through ourexperience o them. Knowledgehas since taken the orm othat which is scientifically andmathematically accurate, anddisregards our experience, or atthe very least, our experiencehas become viewed as an ineriormode to truly understand theworld which we inhabit.
Tis differentiation is importantto acknowledge, not so that we
can simply return to an old worldview and rame our existencein more beautiul and esoteric
terms, but rather to join it withour new scientific understanding
and open our eyes to invite usto look across disciplines so
that we can solve our personaland societal problems. What
this project is intending to do is
to call attention to those olderworld views, by examining its
art, architecture, and music,to create a place or our new
knowledge and resources,celebrated through prior works,
to blossom into new pieceswhich the city can live through
well into the uture.
While music, like art and
architecture, has made its waythrough history in different
orms and scales, it has madeits mark in very specific places
as well. In the 15th and 16thcenturies, Bruges, Belgium wasan economic and cultural hub
o northwestern Europe. Due toits booming shipping industryand beautiul architecture, the
city became a hotspot whichwas filled with vibrant sounds
and images o everyday lie.
Te spirit o this period, whichwas documented though the
architecture, artwork, andbeautiul church songs created at
the time, allowed the medievalcity to become a memorableexperience. Afer a period o
downturn the city has beengreatly renewed through its
tourism, yet it still seems to livein the past. It is important that
as a way to represent the heavens,but rather to approach them,which was something that untilour modern-day understandingo science, was unquestionablythe only explanation or ourexistence.
With the Scientific Revolutionhowever, we, as a world culture,gained an immense amounto specialization with thedevelopment o science and the
inventions which succeededit. Tis results today in anincredibly well developed bodyo inormation in regards tofields like astronomy, medicine,and building construction, justto name a ew. Our ability toocus on parts in extreme detail,like a cell in a body or a windowdetail in a building, has benefitedus greatly in creating a more
Figure 24- 1572Retrieved rom architectureorhumanity.org
d hi t i ll d d i i ll d di l l d d d ff i i l l d ll
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new and historically groundedart, architecture, and musicmake its way back into theurban abric in order to promoteconversations about where thecity is headed next.
Exploration Trough theCreation o an Arteact
In order to perceive such ideasand push or new pieces, we were
called to create an arteact thatcould inorm our architectureand become a new orm oresearch; bridging the pastand present in some orm oranother. My arteact containsmusic written by a Ghent-borncomposer, Jacob Obrecht, whowrote plenty o his lie whilein Bruges. In the beginning omy own piece o music, which
contains a piece pulled directlyrom Obrechts work,Missa deSancto Donatiano,written ormass at St. Donatians Cathedralin Bruges, the audio begins as acleaner and pure note, but as itprogresses, the notes elongateand eventually become stagnatein their movement, as Bruges didrom the 17th to 19th centuries.It is then revitalized in a ormdistorted by the computer. As themusic is played, it is made visible
on the wall rom a laser reflectedonto a speaker, connecting ourauditory and visual senses intoone experience. Additionally, aperson becomes the musician,and is called to connect the spacebetween the speaker and thelaser on the wall with two pieceso wood strung together; thisbecomes their own instrument.Te note then returns to
elongated orm and ades off intoeternity; into the uture.
Te physical maniestation othe arteact resembles a harp or
some other stringed instrument.While two pieces o wood are
used to hold six strings on eitherend, the strings are covered in
chalk and conducted through theair by a player or musician. Teplayer orchestrating the strings,
does so between the speaker,
which reflects the laser on thewall, turning the wall into acanvas painted by sound. Tis in-
between space that is in habitedby the strings, catches the laserat certain points and activates
the instrument, making it appearas though the strings are, in
act, affecting the sound that isbeing heard. Te laser on the
wall starts off as a pure circle that
simply gets larger and smalleras the pitch changes, but as thepiece progresses and the music
becomes distorted in an instant,it causes the mirror on the
speaker to be assaulted by soundand create a more chaotic pattern
o the laser on the wall. It is atmoment that the player would
pull back on the instrument,causing the strings to become
taught, and the chalk would bereleased rom the strings and
fly into the air, suspending thenotes in the space between. Asthe chalk settles, so does themusic and the laser, and the
perormance calms once again,just like Bruges.
Figure 25- Bruges roofopsRetrieved rom tripadvisor.com
CASE SUDIES: Te Daeyang Gallery and surrounded by a plethora o
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CASE SUDIES:DAEYANG GALLERY
AND HOUSE
Seoul, KoreaSteven Holl Architects
Te Daeyang Gallery andHouse, designed by StevenHoll Architects eatures threepavilions (one or entry, oneor living, and event space)separated by a reflecting poolon the upper floor. Below thereflecting pool is a gallery spacethat eatures skylights that allowyou to view the sky above youthrough the water. Te floorplan was inspired by a 1967drawing called Te Symphony
o Modulesby composer IstvanAnhalt. One o the main ideas othe project was that the spacesare silent until activated by light;as the seasons and time o daychanges, so does the nature othe spaces. Te project is filledwith a grand sensory experience.Not only does light animateand change the space, actingmuch like music, the user is also
surrounded by a plethora osounds, smells and textures romountains, rain screens, wood,concrete, marble, plaster, andvegetation.
Figure 26- Steven holl sketchRetrieved rom stevenholl.com
Figure 28- Daeyang reflectionRetrieved rom stevenholl.com
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48 Figure 27- Sketch o modulesRetrieved rom stevenholl.com
Figure 31- EntranceRetrieved rom stevenholl.com
Figure 30- Daeyang ceilingRetrieved rom stevenholl.com
Figure 29- Symphony o modulesRetrieved rom stevenholl.com
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Figure 32- DaylightFigure by Isaac Karley
Figure 33- CirculationFigure by Isaac Karley
Figure 34- GeometryFigure by Isaac Karley
Figure 35- StructureFigure by Isaac Karley
Figure 36- HierarchyFigure by Isaac Karley
Figure 37-Mass & siteFigure by Isaac Karley
Figure 38- Plan to sectionFigure by Isaac Karley
CASE SUDIES: Villa Malaparte was a private writers desk rames the horizon
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VILLA MALAPARE
Capri Naples, ItalyCurzio Malaparte
p presidence designed or, andultimately by, writer CurzioMalaparte. In 1933, Malapartewas banished to a small island inthe Mediterranean by Mussolini.His return rom exi le didntlead the writer to want to rejoinsociety but rather to create ahome where he could continueto live in seclusion. Te house isa very minimalistic shape, a longrectangular box, that sits on topand seemingly within the jaggedrock on Capris coastline. Tefloor plan does the unexpectedby not revealing the beautiuland large horizon to anyonewho enters the home. Te viewis tucked away at the end o thehouse en route through severalrooms and a winding path. Oncein the room, a small verticalwindow that sits above the
line and nothing else. Te viewo all o the surroundings isachieved once traveled up theend o the building and onto theroo.
Figure 39-Malaparte stepsRetrieved rom youtube.com
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54 Figure 40-Malaparte rooRetrieved rom archi.ru
Figure 41- IsolatedRetrieved rom youtube.com
Figure 42- InteriorRetrieved rom orpilar.blogspot.com
Figure 43-Jean-luc godardRetrieved rom the movie Contempt
Fi 48 Hi h
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Figure 44- DaylightFigure by Isaac Karley
Figure 45- CirculationFigure by Isaac Karley
Figure 46- CirculationFigure by Isaac Karley
Figure 47 - StructureFigure by Isaac Karley
Figure 48- HierarchyFigure by Isaac Karley
Figure 49-Mass & siteFigure by Isaac Karley
Figure 50- Plan to sectionFigure by Isaac Karley
CASE SUDIES:SALK INSIUE FOR
Te Salk Institute or BiologicalStudies located in San Diego
in dreams, in imagination andi th th h d
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SALK INSIUE FORBIOLOGICAL SUDIES
San Diego, CALouis Kahn
Studies located in San Diegowas designed with the ideathat buildings should bemonumental and spirituallyinspiring (Perez, 2010). Teunctional and ormal buildingsare separated by a stone plazathat was inspired by a ellowarchitect and riend o LouisKahn, Luis Barragan, who calledthis plaza the fifh acade. Itfinishes the experience o thespace and creates arguably oneo the most inspiring and ormalarchitectural photographs o thetwentieth century. Te buildingswere meant to inspire creativitythrough the architecture and theydo just that. A quote rom theclient, who was also the inventoro the polio vaccine, Dr. JonasSalk, is inscribed on the stone inthe plaza that states, Hope lies
in the courage o those who dareto make dreams reality (Prez-Gmez, 2010).
Figure 51- Fifh acadeRetrieved rom dailyherald.com
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60 Figure 52- Salk materialsRetrieved rom flickr.com
Figure 53- Salk instituteRetrieved rom altitudecam.com
Figure 54- StairwayRetrieved rom stardustmoderndesign.com
Figure 55- Concrete corridorRetrieved rom flickr.com
Figure 56- wo viRetrieved rom jbphoto3
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Figure 57- DaylightFigure by Isaac Karley
Figure 58- CirculationFigure by Isaac Karley
Figure 59- GeometryFigure by Isaac Karley
Figure 60- StructureFigure by Isaac Karley
Figure 61- HierarchyFigure by Isaac Karley
Figure 62-Mass & siteFigure by Isaac Karley
Figure 63- Plan to sectionFigure by Isaac Karley
CASE SUDYSUMMARY
When looking or case studies,I wasnt necessarily ocused on
so directly near the water, youstill have to make the climb to
includes a museum, perormancespace, and sleeping quarters, but
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yfinding a program to examinethat would match the program Iwas pursuing or my own project.Te reason or this was that Iwas trying to find projects thatocused on creating inspiringspaces. As my entire thesis isbased on the ability and necessityto look not only at what is rightin ront o you, but also in placesyou might not expect to findanswers. Ive learned plenty
through these case studies abouthow I would like the quality ospace to eel.
For example, Villa Malapartedeals with creating some sort owonderment and not revealingeverything all at once. In order toget a vast view o the ocean, e venrom a building that is placed
the top o the building in orderto achieve such views. Being
up there, you have to stay romthe edge, in ear o alling off
the side. Inside, the lack o largeexpanses o windows create thesense o the ocean being a prize
as it is not something that youget great views o rom mostplaces in the house. Te best
view, which is still restricted, isabove the owners desk where hewrites. He has an opportunity tolook up rom his paper and look
at the vast horizon created by theocean disappearing into the sky.
Te Daeyang Gallery and Housewas probably the case study that
was more closely related to theprogram I am pursuing but still
has some major differences. It
p , p g q ,unlike my proposed project, itis first and oremost a privateresidence. However, when it
comes to this project, I drew andwill continue to draw the mostinspiration rom what inspiredthe design and how the designis carried though. Steven Holl
Architects dealt with music andspace by using light as a sort omusical piece that animates the
space. With the idea that thespace is silent until activated by
light (Steven Holl Architects,2012) is an interesting thoughtand an inspiring execution on
their part. While in the museumspace in the lower floor, the
ceiling is decorated with long,rectangular skylights that open
up to the reflecting pool directlyabove. As the sun moves over
Figure 64- Experience daeyangRetrieved rom homedsgn.com
the building and the horizon,the space begins to change as
and is said to be even more sodramatic when you are actually
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p g glight reflects off o the floorsand up walls. Te water allowsthe light itsel to come alive as itshimmers rom the sun shiningthrough it. Trough a mix omaterials, sharp angles, and aplethora o experiences thatappeal to the senses, it is a trulydynamic space and seems to be aperect creative space.
Te Salk Institute or Biological
Studies was picked simply romthe view down the courtyardwater eature that disappearsinto the horizon. Te watereature sits atop the deemedfifh acade that appears tobe clad in the same materialas the surrounding buildings.Te image created rom thatspace is a very inspiring image
y ythere. Te building was designedwith the hopes o becoming aninspiration or the students thatattend the university and is saidto be quite successul.
Figure 65- Salk sunsetRetrieved rom millepercorsi.it
HISORICALRESEARCH
As an historical knowledge isalways a necessity when truly
North, it has not always beenthought o as such.
Hans Memling. Some o theirworks, specifically van Eycks, are
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attempting to understand anyone thing, person, or place, inBrugess case, its history is thevery thing that gives the city anidentity and relevance in todaysculture. In 2000, the entirecity center was recognized as aUNESCO World Heritage Site.According to the organizationswebsite, Brugge [Bruges] isan outstanding example o amedieval historic settlement,
which has maintained itshistoric abric as this has e volvedover the centuries, and whereoriginal Gothic constructionsorm part o the towns identity(UNESCO). Although Brugesis thought o today as a touristdestination or those exploringnorthern Europe and is deemedby some as Te Venice o the
Te city o Bruges was oundedin the 9th century by Vikings
and the name is thoughtto be derived rom the old
Scandinavian word brygga,meaning harbor or port(A
brie history, 2011). During the12th century, Bruges began its
rise as a cultural and economichub o northern Europe. B eing
a major administrative and
military center o the region,aside rom the popularization o
Flemish cloth, people rom allwalks o lie flocked to the city,
creating a bustling center andmelting pot o many different
cultures. Te 15th centurybrought Flemish art into the
cultural oreront by talentedpainters like Jan van Eyck and
still highly regarded by scholarsand art historians as some o
the best works o the time andare considered some o the
earliest influential works o theRenaissance period.
While the 15th centurywas considered to be Te
Golden Age o the area, thedevelopment o the port in
Antwerp, another Belgian city
located about an hour north,led Bruges into a steady declinetoward the poorest city in all oBelgium. Te building o canals
in the 17th and 18th ce nturiescaused the city to regain someo its maritime power, but notto the extent it had during the
medieval period. During the19th century however, Bruges
Figure 66-JeruzalemkerkRetrieved rom screenflanders.be
started to get back onto itseet with the resurgence o an
i i d i
close the inns, to warn o comingthunderstorms, fires and armies,
i d l d
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appreciation and interest orits previous artistic prowess.
It became a major touristdestination or those rom allaround the world wishing toadmire the architecture and
tradition that made the city whatit is c urrently.
For Bruges, the medieval periodwas a time in which the city
was at its wealthiest and most
prominent. During that time,the space and happenings o the
city were defined and narrated byart and music. Christianity andthe church played an extremely
integral role in everydaytradition and culture. Te church
bells would ring to tell peoplewhen it was time to go to work,
or the beginning o mass, to
etc; it structured peoples days.Music was not just heard withina sacred space inside the churchbut you could also hear it while
out and about. It was sung in thestreets by everyday citizens and
proessional perormers alike,and was ofen accompanied byperormances. Tere were, and
still are, church processionswhich included music; the
market square was ofen defined
by the horn players that breathedlie into the place. Even the
sounds o everyday lie couldbe thought o as music. It was
everywhere.
Jan van Eyck, as was mentionedearlier, was a very influential
painter in Flemish art. His workhas helped us to broaden our
Figure 67- Te betrothalRetrieved rom wga.hu
Figure 68-Musical mRetrieved rom best2013.eu/ve
understanding o Bruges andits position in the culture o
th E p d i th
organ and, i examined closely,one can see that she is aboutt p th k F C d A
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northern Europe during thethirteenth, ourteenth, and
fifeenth centuries. One o hismost amous works, the GhentAltarpieceorAdoration o the
Mystic Lamb, was commissionedor a cathedral in Ghent, Belgium
and was finished in 1432 inBruges. Tought to have been
designed alongside his brotherHubert, who died in 1426, it tells
the story through 12 different
panels, eight o which on hingedshutters, o a more orgiving andmerciul God than was depicted
in many paintings createdduring the Medieval period. Tework plays with time and space
through many different subjectsand images within the painting
itsel. One panel in particularshows an angel playing the
to press the keys F, C and A.Reinhard Strohm, a German
musicologist who has taught atKings College, Yale University,
and Oxord University describesthe panel in this way, Te time
lapse between her action andthe perception o the chord is
extended to eternity (Strohm,1985). Right beyond her,
another angel is about to play aviol but is resting, while a third
angel, plays the harp and keepscount o the musical measure
with her fingers on her partnersshoulder. Four panels to the
lef o the three angels, anothergroup o angels are seen singing
polyphonic music. Tese twopanels, among other images
included within the painting,speak to a precise musical
Figure 69-Mystic lambRetrieved rom allart.biz
Figure 70- St. bavo caRetrieved rom 8houradventu
measure in which the wholepainting takes place.
Te oath that Giovanni Arnolfiniis taking is promised or a
lietime not or eternity Te idea
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A second painting by van Eyck,Arnolfini Portrait, finished in
1434 is considered a documento ceremony which took place
in Bruges in 1434. It showsGiovanni Arnolfini raising
his right hand and takingthe oath to marry GiovannaCenami, who stands beside
him, pregnant, with a dog attheir eet. On the back wall o
the Bruges townhouse shown inthe painting, you see the phrase
scribed in Flemish, Johannesvan Eyck was here. Right
below is a mirror that showsthe reflection o the townhouse
in which the ceremony istaking place, as well two people
standing in the doorway, thepainter himsel and a witness.
lietime, not or eternity. Te ideathat at some point the subjectswill cease to exist and the oathwill be no longer pertinent, issymbolized by the one candle
that is burning in the chandelierabove them. It too will dissipate
given time. Te very nature owhat the painting is, a document
o ceremony, along with vanEycks attention to detail and
moments o the ceremony, places
this image in a very particularmoment.
A third painting, St. JohnAltarpiece by Hans Memling and
finished in Bruges in 1440, isalso described in Strohms book
as such, that delicate momentwhen the child was about to
touch the finger o the youngFigure 71-Arnolfini
Retrieved rom lesmaterialistes.comFigure 72-Arnolfini Retrieved rom educa.madrid
princess. Mystic suspense andhappy leisure are juxtaposed, asSt. Barbara keeps reading her
hectic business, disordersand violence cry out rompage afer page in the
so have the music and thesong o the nightingale in
the orchard. And yet, these
relevant to the culture o theregion like it once was, however,
it is not so or its present day
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76
St. a ba a eeps ead g eBook o Hours, and a smilingchild-angel enjoys the soundo the portative organ whichhe is playing. Strohm goes onto explain all three o thesepaintings in a way that describeshow they can relate us to the cityand how the city relates us to thepast and to today.
Tese pictures also
encapsulate motion andspace. We are aware thatthe townscape o Brugesis just beyond - or rather,on our side o the picture,acing them. Here, wherewe stand now and look atthe pictures, these were thepeople, the houses and theactivities o a city whose
page afer page in thearchives. It is strange thatthe works o the paintershave come to resemble morethe Bruges o today - apeaceul and orderly townwhos medieval architecturespells nostalgia - than thato the fifeenth century: theliveliest, wealthiest and mostcomplex urban communityo North-Western Europe.
It was the home o morethan 30,000 people - princes,priests, riars, soldiers,housewives, prostitutes,artists and artisans, bankersand beggars. Te noises othe marketplace, the inns,the workshops, the stock-exchange, the public baths- they have all died, and
the orchard. And yet, thesesounds have shaped the
townscape, contributing toits order and to its disorder.
Te sound o music is stillrozen in the shapes o
Bruges(Strohm, 1985).
It is through these thingsthemselves, some located in thearchives, some in the museums,some in the churches, and s ome
just residing in the rigmarole oeveryday lie and city tradition,
that we are reminded o this r ichhistory and time.
oday, Bruges is a city thathas regained its identity as asuccessul port city but it is
mostly dominated by tourism.Te city is again lively and
it is not so or its present dayactivities or productions that
happen within the city currently.While very well preserved and
beautiul, or as Strohm explainsa peaceul and orderly townwhos medieval architecture
spells nostalgia, it has anopportunity to reawaken itsel
and become an inspiring cityrecognized not just or its history
but or its uture.
Figure 73- Lucca choirbookRetrieved rom Music in Late Medieval Bruges
Figure 74- Te beRetrieved rom wga.hu
GOALS FORPROJEC
Te goal o this thesis project,on a personal level, is to explorewhat it means to merge music
always wanted to go down everysingle one I saw. As my idea
evolved o what the project could
o the program and the city, I sawsomething that I elt was lackingwithin Bruges. When I was there
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gand architecture together. AsIve always been ascinatedwith both and continue to seemany parallels between thetwo, I would like to explorethe relationship even urther.Bruges was picked as a site orthe project because, upon visitingthe city, I was immediately inawe o the history demonstratedthrough the architecture, in
addition to the shear densityo the medieval city. Narrowalley spaces served as a majorinspiration or the project andcould maybe even be thoughto as the reason why I choseto do this project there in thefirst place. I love the crampednature o these alleyways and thecuriosity they evoked in me as I
p jbe, I imagine that my desire to
live there began to take over.
Approaching the project moreacademically, I still look to mypersonal intentions to inorm
this direction. I realized throughmy schooling that the more I
just go with my gut on things,the better my projects turn
out. Fighting a will with a ear
o not wanting to get too closeto something can be just as
dangerous as getting too close.With my love o music and mylove o architecture, creating a
space that would merge the twoand provide a space within that
relationship or someone likeme to participate gets me very
excited. But aside rom my love
gI never elt like there was an
established industry beyond theport activities or tourism, and
upon urther research, I realizedthat music and art were huge
influences on its development inthe Middle Ages. So, merging artand architecture seemed like theperect fit or a city that seems tolack an identity rooted in what ishappening today within its walls.
As ar as my proessional skillsgo, I wanted to work more on myresearch skills, and specifically inunderstanding the history o theproession itsel. I do believe thatI have broadened my knowledge
in such areas and am moreprepared to enter the workorcethan I was several months ago.
Figure 75- Channel orangePhoto by Isaac Karley
Te last several months, whichhave ocused on the designaspect and BIM modeling have
and merge graphics with a stronghistorical knowledge to createimages beyond the standard
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been key or me in strengtheningmy skills in such applications.In a proessional world that ispushing arther and arther intoprograms like Revit, I believethat it is important or me tonot only be competent in thoseprograms but to understandtheir capabilities and restrictionsbetter than the averagearchitecture student in order to
be competitive anywhere I wantwithin the job market. Withthat being said, I would like tolearn how to use the applicationsin ways that not only help medesign the building but help mecommunicate somehow what itmight be like to be in the spaceitsel. I would like to use theseprograms with other techniques,
rendering that we see so ofenused to realize or understandthe building.
When I think about what myultimate goal o the project is,it doesnt necessarily fit withinthe realm o personal, academic,nor proessional. Te goal is tosimply communicate my ideas.In everyday lie, whether youre
at home talking to a loved one,at work talking to a client, ormaking a piece o art, you areconstantly trying to figureout the most effective way tocommunicate to whomever youare speaking to. Communicationis paramount and can go a l ongway or someone i they are goodat it.
Figure 76- Bruges at nightRetrieved rom hotelnavarra.com
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SIE ANALYSIS
SIE NARRAIVE A Site visit rom March 4, 2013:
Te site seems kind o small.It ld d t b ti
I wonder what could workthere? Tere doesnt seem
like there would be too mucht b i i d b th
there? Is it because it is sotight and there seems to benothing or anyone to hide
b hi d? I d t ll k
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It would need to be an entirebuilding taking up the site.I think? Te acade wouldalmost have to be somethingthat is completely the sameas the surrounding. All theother buildings that havebeen created in the areaseem to have a acade thatcompletely matches but therest o the building doesnt
seem like it needs to fit in.I dont want to start makingany decisions now. Allthe shops around the areaseemed to close at about6pm. Te street was prettybusy during the day with allthe souvenir shops aroundbut seemed pretty quiet aferthe sun started going down.
space to be inspired by thealleyway and turn that intoa major design part. Maybe
something that splits thebuilding and empties into acourtyard in the back o the
lot. Maybe something thatmirrors the other side o thestreet. Might want to figure
out what else is aroundthere. Should do some
checking on stuff to see whatI got today. Something about
the streets and the alleys isthat they arent completely
straight. Tey curve ever soslightly, maybe that carriesyou through. Is it becauseyou cant see anything o
what is at the end but youknow that something is back
behind? I dont really know.It eels like a airytale land
though. It really does. Somany people around but
its a bunch o older peopleor others on holiday it eels
like. Im not sure what to dowith it. Well see.
Upon my initial impressionso the site, I thought it looked
small and was not quite sure ithere was enough space to place
a thesis project on it. However,I now believe there definitely
is. Te building that was therebeore was a five story hostel
and had some shops on the firstfloor. Te site is surrounded bydifferent shops and restaurants
and is down the street rom twoFigure 77- Bruges at night
Photo by Isaac KarleyFigure 78- CourtyardPhoto by Isaac Karley
major tourist attractions withinthe city. One is Te Church oOur Lady, which is on the sameside o the street and is just
o the site. Tat street is hometo private residences and a ew
small business, like dental offices.
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side o the street and is justbeyond the river to the northo the site. On the other side othe street, also to the north, sitsone o Europes oldest hospitals,St. Johns Hospital. It is now amuseum but houses some o themost amous paintings rom thearea, including Memlings St.John Altarpieceas was discussedearlier in the book. Te river
eatures requent riverboattours all year round as touristswalk down the historic streets,stopping at chocolate shopsand lace shops. Tere is a streetdirectly to the north o thesite that actually has a garageentrance that carries rom thestreet, under the buildings, andopens up on the northern edge
Figure 79- Dream bridgePhoto by Isaac Karley
QUALIAIVE SIE ASPECS
SIE FEAURES Te site itsel is a blank slate thatis surrounded by a collection
WAERA river that is used exclusivelyor travel and tourism is located
hal a block north o the site.
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LIGH
VEGEAION
Te majority o the sunlightwould be taken into the buildingrom the street-side acade.Te top floors might be able tograb more sunlight, i sittinghigh enough, but the building issurrounded by other buildings.
yo private residences, publicbusinesses, and two courtyards.Tere was previously a buildingexisting, a five-storey hostel, onthe site but it is no longer there.
Tere is vegetation that isprevalent in the courtyards bothto the south and the east o thesite but is non-existent along thestreets due to the dense nature othe city.
HUMANCHARACERISICS
DISRESS
WINDTe site itsel is pretty shelteredbut does get wind that travels
over the buildings and down thestreets.
Te site is surrounded by apreviously built environment,
one that has been there orhundreds and hundreds o years,
since the medieval times.
Te building that was therebeore was demolished andthere is currently an e mpty
hole that takes up the site. Itwill be important to not disturb
the buildings around it whenexcavating.
Figure 80- Sunny canalPhoto by Isaac Karley
QUALIAIVE SIE ASPECS
SOIL No soil inormation is oundat this time as it has proven to
PEDESRIAN RAFFICPedestrians walk on thesidewalks and enter into different
shops and restaurants alongthe road. During the day, the
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WAER QUALIY
UILIIES
VEHICULAR RAFFIC
OPOGRAPHIC SURVEY
Te resh water supply iscontaminated by the merging osaltwater but is easily treatable.
be difficult to obtain Flemishrecords and reports.
Utilities are currently on the siteand readily available.
Vehicular traffic is somewhatsteady and requent along theroad in ront o the site. Speedsrarely exceed 20 or 25mph as thestreets are narrow and pedestriantraffic is high.
Tere is the slightest upward
slope reaching to the north-west rom the site but is almostnon-existent.
SIE CHARACER
VISUAL FORM
sidewalks are usually anywhererom 50%-75% ull.
Te visual orm o the site isdominated by the neo-gothic
acades that line the streetsacross rom and near the site.
Te site is, again, dominatedby neo-Gothic architecture
that was constructed betweenthe eleventh and seventeenth
centuries. It is a shoppingdistrict, as is most o the city,
and is dominated by tourism andsmall local businesses.
Figure 81- Side streetPhoto by Isaac Karley
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Figure 83- Figure/groundFigure by Isaac Karley
92 Figure 82- City squareRetrieved rom ivopopov.be
CLIMAE DAAGRAPHS
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Figure 84- Sun hoursFigure by Isaac Karley
Figure 85- Wind speedFigure by Isaac Karley
Figure 86- Relative humidityFigure by Isaac Karley
Figure 87- PrecipitationFigure by Isaac Karley
Figure 88-Average temperatureFigure by Isaac Karley
94
Figure 94- Wind directionFigure by Isaac Karley
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Figure 89- Summer solsticeFigure by Isaac Karley
Figure 90- EquinoxFigure by Isaac Karley
Figure 91- Winter solsticeFigure by Isaac Karley
Figure 92- Sun path diagramFigure by Isaac Karley
Figure 93- Wind roseFigure by Isaac Karley
Figure 95- Noise & topographyFigure by Isaac Karley
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98 Figure 96- NW site cornerPhoto by Isaac Karley
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100 Figure 97- SW site cornerPhoto by Isaac Karley
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102 Figure 98- South site edgePhoto by Isaac Karley
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100
99
Figure 99- Site alley backPhoto by Isaac Karley
Figure 100- Site alleyPhoto by Isaac Karley
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106 Figure 101- View southPhoto by Isaac Karley
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103
102
Figure 102- View northPhoto by Isaac Karley
Figure 103- North street photoPhoto by Isaac Karley
PRE-DESIGNPROGRAMMAIC
REQUIREMENS
Museum - 6,000 sq. f.Hostel rooms - 4,000 sq. f.Public kitchen - 100 sq. f.Studio space - 6,000 sq. f.Perormance space - 4,000 sq. f.i k ti 100 f
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icketing - 100 sq. f.Entrance - 300 sq. f.Public bathrooms - 1,000 sq. f.Classrooms/breakout rooms,private room - 2,000 sq. f.Administration - 1,000 sq. eetCirculation - 3,000 sq. f.Mechanical - 3,500 sq. f.Maintenance/laundry - 3,000 sq.f.
Bike storage - 100 sq. f.Parking & entrance - 2,000 sq. f.Retail - 2,000 sq. f.Roofop patio - 6,000 sq. f.
Figure 104- o city centerRetrieved rom d s-lands.com
SUDIO SPACE
HOSEL ROOMS
PERFORMANCE
PUBLIC KICHEN
ICKEING
LOUNGE ESSENIAL
DESIRABLE
NON-ESSENIAL
Perormance Museum
Classrooms
icketing
Bike Storage
Entrance
Parking /
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PUBLIC BAHROOMS
MAINENANCE
CLASSROOMS
BIKE SORAGE
ADMINISRAION
PARKING & ENRANCE
CIRCULAION
ENRANCE
REAILROOFOP PAIO
MUSEU
M
PUBLIC
BATHRO
OMS
STUD
IOSPACE
MAINT
ENAN
CE
HOSTELR
OOMS
CLASSR
OOMS
PERF
ORM
ANCE
BIKE
STOR
AGE
PUBLIC
KITCHEN
ADMINISTR
ATION
TICKETIN
G
PARK
ING&EN
TRAN
CE
LOUN
GE
CIRC
ULATION
ENTR
ANCE
RETAIL
Hostels
Admin.
Lounge
PublicKitchen
Classrooms
Patio
Bike Storage
Studios
Parking /Entrance
112 Figure 105- Pre-design matrixFigure by Isaac Karley
Figure 106- Pre-design spFigure by Isaac Karley
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DESIGN
As stated earlier, the arteactwas used as a tool to bridgepast Bruges with how it canbe interpreted today. Te lightnature o the arteact wassomething that became a heavy
technology has led us to gpossibilities with recordincreating sounds, and idea
advanced to give us mdraw rom, but overall, the
eeling can be achieved
HE AREFAC
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g yinfluence on the design o thebuilding. Something became veryinteresting about taking a pieceo music and figuring out how tocapture the sight o it in the spacebetween. Another interestingpiece o the arteact that playeda significant role on the designwas the idea o modern-day
technology merging with and re-interpreting old music and ideas.Te piece o music by JacobObrecht distorted and madevisible on the wall by a highlyanimated laser was an interestingsight to see, but most effectivelycommunicated that music hasntchanged all that much. Obviously
gpiece whether it was writte
or five hundred yea
Figure 107-Arteact set-upRetrieved rom d s-lands.com
Figure 108-Arteact Photo by Isaac Karley
In 1985, a ormer Oxordproessor named ReinhardStrohm published a book calledMusic in Late Medieval Bruges.In the second paragraph o thefirst chapter, he begins to tell
In the passage, Strohm speaks oan eternity, one created by thesubject o the painting and the
action she is about to complete.Tough he speaks o a finite
moment in which the painting is
PAINING ASINSPIRAION
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p gthe story o music in Brugesthrough these different pieces oart created towards the end o theMedieval period:
In the Ghent panels byHubert and Jan van Eyck,an angel is seen playing theorgan: she is about to press
the keys F, c and a. Te timelapse between her action andthe perception o the chordis extended to eternity (...)Musical measure determinesthe precise moment in timein which the whole picture isset (Strohm, 1985).
p gsupposed to take place, through
a perceived musical measure, theeternity occurs only because
the viewer is never actually ableto hear any o the sounds that
would take place i the paintingbecame a reality and time were
to progress. So, the perception othe sound must occur through
the viewers imagination.
PAINING ASFACADE
Te building begins to take shapeas i the painting were projectedonto the ront o it. Te Chordstarts on the acade o thebuilding, on the right side, wherethe organ player sits in respect
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to the rest o the panels. Teglass o Te Chord juts out othe acade and extends throughthe building, passing underthe larger concrete structures,like musical notes would passthe staffs in a piece o music.Tere are eight o these concretestructures, creating seven
openings that rame the sky andpoint to the heavens, signiyingthe seven hours o prayer thatstructured the citizens daysduring the period in which theGhent Altarpiecewas created.Te only moments the sky wouldbe visible rom the lower levelso the building, would be in thepath direct path o Te Chord. Figure 110- MusicCollage by Isaac Karley
Figure 109- Te ChordRendering by Isaac Karley
R.R.
LOUNGE
Te lower level is where theconcerts would take place. Southo the main hall, there is a storagespace or different equipment andart to be held when the spaces arebeing used or different events.N h h i
LOWER LEVEL Figure 113- Lower level planPlan by Isaac Karley
Figure 112 - Perormance stageRendering by Isaac Karley
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PERFORMANCE/GALLERY
MECH.
North o the main concert spaceis a lounge or the visiting artiststo relax beore their concert ithey so choose. Te smaller stairsthat occurs between the loungeand the exhibit space would beor used or a private entrance orthe artists, as well as emergencyegress or the public, which
supplements the other fire-ratedstairs in the southwest corner.Te lower level also houses themechanical room that wouldhold the necessary e quipment toheat and cool the building.
Figure 111- Concert sectionRendering by Isaac Karley
PERFORMANCEAs a perormance space, thismain concert hall is meant to
serve as a smaller venue (capacity180 persons) to offer the public aspace to see mainstream acts that
wouldnt have the opportunityto perorm in the larger concert
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to perorm in the larger concerthall located just directly outside
the citys inner ring. Tis elemento the program offers artists
the opportunity to create theirmusic on the upper floors o the
building and perorm it on thelower level.
Figure 115- Night perormanceRendering by Isaac Karley
Figure 114- Day perormanceRendering by Isaac Karley
Te street level o the buildingserves many different unctionsas well, but remains entirely opento the public. Te entry o thebuilding offers an initial viewdown Te Chord but turnsthe public away and unnels
SREE LEVEL
VEHICLE ENRY
Figure 117- Street level planPlan by Isaac Karley
Figure 116 - Entrance view
Rendering by Isaac Karley
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the public away and unnelsthem past reception and into thebuilding. During concerts, themain floor would become a placeto sell concessions, drinks, andmerchandise, as well as providean upper level to watch the show.Te building is pulled away romthe surrounding structures,
creating 1 meter wide alleys oneither side.
PERFORMANCEGALLERY BELOW
ENRY
RECEPION/ICKEING
CONCESSIONS
Te second level o the buildingwould be used by a mix o thegeneral public and the peoplewho would work in the building.A conerence room is locatedon this floor, with views o theperormance/gallery space below,
2nd LEVEL
CONFERENCE
Figure 119- Second level planPlan by Isaac Karley
Figure 118 - Listening lounge
Rendering by Isaac Karley
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perormance/gallery space below,and would be used to meet withthe public or incoming artists.It is at this point, on the secondfloor, where Te Chord startsbecoming suspended throughoutthe structure. A glass floor wouldallow you to cross rom onefloor plate to another without
obstructing view down TeChord rom other points inthe building. Tis floor wouldalso eature a lounge where thepublic could listen to music othe artists choosing, offering adifferent way to experience theart in such a public structure.
ADMINISRAION
LI
PERFORMANCEGALLERY BELOW
Te third level is where the actualart would be created. While themixing room is located directlyacross Te Chord rom the liveroom and the isolation booths(where artists would recordvocals), artists are demanded
3rd LEVEL
ISO BOOHS
Figure 120 - Vocal booth
Rendering by Isaac Karley
Figure 121- Tird level planPlan by Isaac Karley
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),to collaborate and create theirown music across the buildingsChord. Te distance createdby this major design element isreconnected only by the artistscollaborating with one anotherand creating the art, transcendingthe physical space the users are
limited by. While the sound romthe lower levels seeps up betweenthe spaces in the floor andsurrounds these rooms, they arethe only spaces in the buildingwhere sound is completelycontained within themselves.Tis is done to provide the bestrecording quality possible.
LIVE ROOM
MIXING ROOM
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Figure 123-MixinCollage by Isaac Karley
Figure 122- Live roomRendering by Isaac Karley
132
Tis floor offers the final pieceo the program. wo apartmentsare located on this top floor tooffer places or different artists tostay during their trip to Bruges.Tey are located at the top tooffer the most amount o privacy
d h h b l
4th LEVEL Figure 125- Fourth level planPlan by Isaac Karley
Figure 124 - Artist studio
Rendering by Isaac Karley
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necessary and have the abilityto exit out the back northeastcorner o the building. Tis exitand stair would be completelyprivate to the artists andbuildings staff. It is completelynecessary to offer these artists aplace to stay in order to make the
building become a destinationthat allows them to ocusentirely on creating in such tightquarters.
APARMEN 2
Sections and floor plans othis building were drawn ina relatively simple manner asbasic line drawings. Architects,like musicians o today, speak otheir medium through notation5.It is through simple lines and
t th t
ARCHIECURE ASNOAION
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notes on a paper that we candetermine what a space mighteel or sound like. It is by makingconnections like this that we canbegin to draw even more detailedsimilarities between the twodisciplines and start to see themas inter-related to one another.
Figure 126- NDrawing by Isaac K
MECHANICALCHASE
SYSEMSTe mechanical room, locatedat the ront o the building on
the lower level, would houseall the necessary equipment
or the heating and cooling othe building. Te ductworkand piping would enter the
ceiling and be distributed to the
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MECHANICALROOM
MECHANICALAIR SPACE
SORAGE
CREAEDALLEY
ceiling and be distributed to thedifferent concrete structures
where a chase would allowthe necessary equipment to be
distributed to different floors andspaces throughout the entirety
o the structure. Te heatingand cooling units would need
to be controlled throughout thebuilding using separate zones, asthe building houses residential
units and spaces, like the studioand isolation booths, that would
need extreme control overtemperature and sound.
Figure 128 - HVDrawing by Isaac Kar
Figure 127- HVAC sectionRendering by Isaac Karley
SRUCURE
Going along Te Chord, thelarger floor plates begin to looklike pristine white keys c utting
through the entire buildingrom ront to back. In order
to preserve the holistic nature
Tis gesture was done or tworeasons: 1) o simply give therecording and mixing spaces
more room vertically withouthaving to raise the height o
the entire building; and 2) o
Figure 129- Structure sectionRendering by Isaac Karley
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po the way they are viewed
through such an open plan, itwas necessary to separate smaller
spaces rom the larger floorstructures. Tis is noticeable
in the conerence room, wherethe floor appears to be floating
and the glass does not touchthe ceiling. Tis element o a
floating floor gives the effecto notes on top o the larger
structure. Tis differs however,on the third floor (the studio
spaces), where the notes appearas isolated boxes sunken into thekeys o the main floor structures.
g; )differentiate the program on this
particular level. Te sinking othese spaces was inspired by the
arteact, which showcases thespaces where the new music is
being created. By dropping themdown and creating a separation
rom the pristine white natureo rest o the building, the actual
structure becomes apparentthrough the drastically vibrantcolors o the steel beams. Tis
speaks to the mythical-likeaesthetic qualities o the city
being separated to reveal thatwhich supports it, the art and the
music created within Bruges.
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PROCESS MODELS
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144 PROCESS MODELS Figures 130-149- ProcPhotos by Isaac Karley
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146 PROCESS MODELS
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148 PROCESS MODELS
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150 PROCESS MODELS
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152 PROCESS MODELS
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154 PROCESS MODELS
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156 PROCESS MODELS
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158 PROCESS MODELS
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160 PROCESS MODELS
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162 PROCESS MODELS
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FINAL PRESENAION
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166 FINAL PRESENTATION Figures 150-160- PresentatioPhotos by Isaac Karley
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168 FINAL PRESENTATION
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170 FINAL PRESENTATION
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172 FINAL PRESENTATION
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174 FINAL PRESENTATION
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176 FINAL PRESENTATION
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178 FINAL PRESENTATION
1. Tough the quote does reerence something I said to someone when I first traveled toBruges, it is a quote taken directly rom the movie In Bruges. Te first paragraph describes amix between what was described during a scene in the movie and how I view the city duringthe initial moments we encountered it.
2. Te term polymath is defined as a person o great learning in several different fields ostudy (polymath, 2014). Kirchers study o music and sound made up only a small portiono his body o work. Te amount o writings and research he created has been unparalleledsince his lietime. See Oedipus Aegyptiacus, one o his most notable works.
NOES
5. Until quite recently, music was not something that was experienced through awritten orm, it was only something that could be understood through physicallyhearing or eeling the music itsel. Tis new way o experiencing the music requiresthe viewer to imaginethe experience o the sound based on what they already knowabout musical notation. Tis, o course, is quite similar to architectural drawings, as acertain type o knowledge and translation is necessary in order to view the simple linesand understand what they represent, a built orm. While architectural and musicalnotation are definitely orms in which we can begin to understand their respectivephysical maniestations, it must be noted that we are still moved by the spaces andthings they represent more than the notation itsel
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3. Tese ideas are set up and elaborated on through the writings o several differentastronomers, philosophers and theorists in Joscelyn Godwins book Harmony o the Spheres.
4. Exce
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