| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| Documento principal | 9.72 MB | Adobe PDF | ||
| Cartaz | 1.13 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
Desde a antiguidade, é evidente o fascínio humanopela compreensão da harmonia cósmica e a
interligação dos seus elementos. A necessidade de dar resposta a estas questões, abriu hipótese
para a experimentação e realização de estudos sobre métodos de intersecção artística. A
relação entre a música e arquitectura, demonstra como duas artes e correntes de pensamento
se “envolveram” ao longo dos tempos em projectos, propostas e tangências de inúmeros
pensadores. Neste sentido, infindáveis soluções, para inserir leis formais do “microcosmo” da
música no “macrocosmo” da arquitetura foram criadas, procurando definir leis objectivas da
beleza arquitectónica.
Nesta dissertação vai ser apresentado a visão de dois arquitectos multifacetados, que
exploraram as aplicabilidades, práticas e teóricas, do paradigma música/arquitectura. Numa
primeira capítulo, analizou-se o Missionário Jesuíta Martin Schmid (1694-1772), que na época
barroca, utilizou o lado prático e funcional da relação música/arquitectura. Entre 1730 e 1767
concebeu igrejas nas missões de San Rafael de Velasco, Concepcíon e San Francisco Javier, na
região de Chiquitania (Bolívia), nas quais utilizou métodos matemáticos da composição musical
para calcular a proporcionalidade dos vários elementos arquitectónicos.
Por sua vez, no segundo capítulo, exploram-se as metodologias de Iannis Xenakis (1992-2001),
arquitecto, compositor e engenheiro contemporâneo. Os “encontros” de Xenakis com a
dualidade música/arquitectura intersectaram-se em duas realidades. Uma das realidades
caraterizada como prática, física, palpável, coincidente com os trabalhos no atelier ATBAT de
Le Corbusier. A outra das realiadades é teórica e conceptual, em que desenvolve estudos sobre
a definição do espaço arquitectónico e a permutação dos campos de acção da música, adentrase
na subjectividade do espaço físico e material, e reformula as fronteiras que o delimitam.
Através da introdução de cálculos probabilísticos e aleatórios na composição musical
contemporânea e o aparecimento de novas tecnologias computacionais, Iannis Xenakis, tenta
transcender o audivél para o espaço físico e introduzir novas premissas na construção
arquitectónica.
Numa última reflexão e de modo a testar a aplicabilidade das teorias e métodos de concepção
artística de ambos arquitectos, alguns processos de desenho arquitectónico foram reavaliados
e empregues na tentativa de conceber um exemplo prático.
Since Antiquity it' s quite obvious the human fascination for the comprehension of cosmic harmony and the belief that their elements are interlinked. The need of an answer to these questions led people to experience and study hard the artistic intersection methods. The connection between music and architecture shows clearly how two arts and ways of thinking got "involved" through centuries, with projects, proposals and related points of view by a host of philosophers. And so, endless solutions were brought forward in order to introduce formal laws of music "microcosm" into the " macrocosm" of architecture and, in the same way, trying to establish objective laws of archictectonic beauty. The purpose of this dissertation is to explain the points of view of two multifaceted architects, that explored the applicabilities, in practice as in theory, of the paradigm music/architecture. The first chapter analyses the Jesuit Missionary Martin Schmid (1694 - 1772), who, in Baroque age, used the practical and functional side in the relation music/architecture. Between 1730 and 1767 he conceived churches in the missions of San Rafael de Velasco, Concepcion and San Francisco Javier, at Chiquitania (Bolívia), using mathematical formulas of musical composition to calculate the adequacy/proportionality of the diversified architectonic components. In the second chapter, on the other hand, the methodoligies of Iannis Xenakis (1992 - 2001) are explored, as a contemporary architect, composer and engineer. The "encounters" of Xenakis with the duality music/architecture crossed in two realities: one of them is characterized as being practical, physical, touchable/evident and coincident with his work in the atelier ATBAT of Le Corbusier; the other one is theoretical and conceptual, within which he develops studies about the definition of architectonic space and the interchange of the varied areas of music. He penetrates the subjectivity of physical and material space and rebuilds the boundary frontiers that surrounds it. With the inclusion of the theory of probability and contingency in musical composition and the uprising of new computerized technologies, Iannis Xenakis tries to go beyond the audible to the physical space and to introduce new premises in architectonic construction. As a last reflection, and in order to test the applicability of theories and methods of artistic conception of both architects, some procedures of architectonic design were reconsidered and used, with the purpose of conceiving a practical example.
Since Antiquity it' s quite obvious the human fascination for the comprehension of cosmic harmony and the belief that their elements are interlinked. The need of an answer to these questions led people to experience and study hard the artistic intersection methods. The connection between music and architecture shows clearly how two arts and ways of thinking got "involved" through centuries, with projects, proposals and related points of view by a host of philosophers. And so, endless solutions were brought forward in order to introduce formal laws of music "microcosm" into the " macrocosm" of architecture and, in the same way, trying to establish objective laws of archictectonic beauty. The purpose of this dissertation is to explain the points of view of two multifaceted architects, that explored the applicabilities, in practice as in theory, of the paradigm music/architecture. The first chapter analyses the Jesuit Missionary Martin Schmid (1694 - 1772), who, in Baroque age, used the practical and functional side in the relation music/architecture. Between 1730 and 1767 he conceived churches in the missions of San Rafael de Velasco, Concepcion and San Francisco Javier, at Chiquitania (Bolívia), using mathematical formulas of musical composition to calculate the adequacy/proportionality of the diversified architectonic components. In the second chapter, on the other hand, the methodoligies of Iannis Xenakis (1992 - 2001) are explored, as a contemporary architect, composer and engineer. The "encounters" of Xenakis with the duality music/architecture crossed in two realities: one of them is characterized as being practical, physical, touchable/evident and coincident with his work in the atelier ATBAT of Le Corbusier; the other one is theoretical and conceptual, within which he develops studies about the definition of architectonic space and the interchange of the varied areas of music. He penetrates the subjectivity of physical and material space and rebuilds the boundary frontiers that surrounds it. With the inclusion of the theory of probability and contingency in musical composition and the uprising of new computerized technologies, Iannis Xenakis tries to go beyond the audible to the physical space and to introduce new premises in architectonic construction. As a last reflection, and in order to test the applicability of theories and methods of artistic conception of both architects, some procedures of architectonic design were reconsidered and used, with the purpose of conceiving a practical example.
Description
Keywords
Xenakis, Iannis, 1922-2001 - Vida e obra Schmid, Martin, 1694-1772 - Vida e obra Arquitectura - Música Arquitectura - Proporções Arquitectura - Composição Arquitectura - Desenho Arquitectura - Construção