Conquering Freedom and Identity. Encounters and Convergences in Architecture and Music in the Postwar
DOI:
https://doi.org/10.6092/issn.2611-0075/19114Keywords:
Architecture and Music, Postwar architecture, Postwar music, Postwar criticismAbstract
Architecture and music’s paths in the aftermaths of WWII have been the subject of detailed studies and are well-known in their respective fields. However, beyond the underlying individual expressions, there has been little work on their parallel paths where common themes, experiences, procedures, shared goals, and achievements are analyzed.
In the aftermath of WWII, the idea of progress has faded away, and technology and science are no longer seen as synonymous with progress. Existentialism and the emergence of Social Sciences will be paramount in the new times.
If the period between the Wars architecture and music saw an overall longing for universality and order, after 1945 nontraditional approaches, in general, the will for change, and the ideas of freedom and identity associated with those of local, community, individuality, participation, etc., will dominate architecture and music’s new approaches, manifesting in different ways.
The text proposes (i) to retrace some key junctures in architectural and musical discourses (both practical and theoretical) emerging in the postwar period, (ii) to explain its relevance in cultural terms and (iii) to evaluate some of its later consequences. By exposing some parallels between architecture and music disciplines, the present analysis aims to contribute to a better understanding of its contexts and its disciplinary interrelationships.
Downloads
References
Arendt, Hannah. The Human Condition. 2nd Ed. Chicago: The University of Chicago Press, 1998. First published 1958.
ASSOCIAÇÃO dos Arquitectos Portugueses. Arquitectura popular em Portugal [Popular architecture in Portugal]. 3rd ed. Lisbon: Associação dos Arquitectos Portugueses, 1988.
Author. PhD diss. 2008.
Banham, Reyner. “The New Brutalism”. The Architectural Review, (December 1955).
Banham, Reyner. The New Brutalism. London: Architectural Press, 1966.
Barthes, Roland. Criticism and Truth. London: Continuum, 2007.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. 9th ed. A History of Western Music. New York: W. W. Norton, 2010.
Cage, John. “Lecture on Nothing.” In Silence: Lectures and Writings, 109-126. Middletown, CT: Wesleyan University Press, 1961.
Capanna, Alessandra. “Conoids and Hyperbolic Paraboloids in Le Corbusier 's Philips Pavilion.” In Nexus III: Architecture and Mathematics, edited by Kim Williams, 35-44. Ospedaletto: Pacini Editore, 2000.
Capanna, Alessandra. “Iannis Xenakis: Architect of Light and Sound.” Nexus Network Journal 3, no. 1 (2001): 19-26. https://doi.org/10.1007/s00004-000-0003-4
Cullen, Gordon. The Concise Townscape. London: Architectural Press, 1961.
Curtis, William J.R. Modern Architecture Since 1900. 2nd ed. London: Phaidon, 1987.
Eno, Brian. “Liner notes.” In Alan Lomax. Alan Lomax Collection Sampler. Rounder Records, 1997, 10 compact discs.
Frampton, Kenneth. “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” In The Anti-Aesthetic: Essays on Postmodern Culture, edited by Hal Foster, 16-30. Port Townsend, WA: Bay Press, 1983.
Frampton, Kenneth. Modern Architecture: A Critical History. 3rd ed. London: Thames and Hudson, 1992.
Gavin, Barrie, dir. Arena Series. Season 8, episode 12, “Boulez Now.” Aired February 8, 1983, on BBC.
Geertz, Clifford. The Interpretation of Cultures: Selected Essays. New York: Basic Books, 1973.
Giedion Siegfried. Architecture, You and Me: The Diary of a Development. Cambridge, MA: Harvard University Press, 1958.
Griffiths, Paul. Modern Music and After. 3rd ed. New York: Oxford University Press, 2010.
Griffiths, Paul. Modern Music. Rev. ed. London: Thames and Hudson, 1994.
Gropius, Walter. “Principles of Bauhaus Production.” In Programs and Manifestos on 20th-Century Architecture, edited by Ulrich Conrads, 95-97. Cambridge, MA: MIT Press, 1971.
Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 4th ed. New York and London: W. W. Norton, 1988.
Grout, Donald Jay, and Claude V. Palisca. História da música ocidental [A History of Western Music]. Lisbon: Gradiva, 1994.
Habermas, Jurgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Translated by Thomas Burger, with the assistance of Frederick Lawrence. Cambridge, UK: Polity Press, 1989. First published 1962.
Hertzberger, Herman. Lessons for Students in Architecture. Compiled by Laila Ghaït, and Marieke van Vlijmen. Translated by Ina Rike. 4th rev. ed. Rotterdam: 010 Publishers, 2001.
Hobsbawm, Eric. Nations and Nationalism Since 1780: Programme, Myth, Reality. Cambridge: Cambridge University Press, 1991.
Hobsbawm, Eric. The Jazz Scene. London: Faber & Faber, 1993.
Holl, Steven. Parallax. New York: Princeton Architectural Press, 2000.
Husserl, Edmund. The Crisis of European Sciences and Transcendental Phenomenology: An Introduction to Phenomenological Philosophy. Translated by David Carr. Evanston, IL: Northwestern University Press, 1970.
Kennedy, Michael. The Concise Oxford Dictionary of Music. 4th ed. Oxford and New York: Oxford University Press, 1996.
Kristeller, Paul Oskar. Renaissance Thought and The Arts: Collected Essays. Princeton: Princeton University Press, 1990.
La Belle, Brandon. “Architecture of Noise.” In Site of Sound: Of Architecture and the Ear, edited by Brandon LaBelle and Steve Roden, 47-55. Los Angeles: Errant Bodies Press, 2002.
Lebrecht, Norman. The Companion to 20th Century Music. New York: Da Capo Press, 1996.
Lefebvre, Henri. Critique of Everyday Life, Volume I: Introduction. London: Verso, 1991.
Les Amis de Xenakis. “Iannis Xenakis Official Website.” Updated 2024. https://www.iannis-xenakis.org/en/
Marien, Mary Warner, and William Fleming. Arts and Ideas. 10th ed. Belmont, CA: Wadsworth, 2005.
McCollum, Jonathan, and David Hebert, eds. Theory and Method in Historical Ethnomusicology. Lanham, MD: Rowman & Littlefield, 2014.
Montaner, Josep Maria. Después del Movimiento Moderno: Arquitectura de la segunda mitad del siglo XX [After Modern Movement: Architecture of the second half of the 20th century]. 4nd ed. Barcelona: Gustavo Gili, 1999.
Morris, E. Toby. “Musical analogies in architecture.” Structurist (1995-1996), nos. 35-36: 66-74.
Nattiez, Jean-Jacques. “Linguistics: A New Approach for Musical Analysis?” International Review of the Aesthetics and Sociology of Music 4, no. 1 (June 1973): 51-68.
Nattiez, Jean-Jacques. “Som/ ruído [Sound/ noise].” In Artes - tonal/ atonal [Arts – tonal/ atonal], 212-228. Vol.3 of Enciclopedia Einaudi, directed by Ruggiero Romano. Lisbon: Imprensa Nacional - Casa da Moeda, 1984.
Nesbitt, Kate, ed. Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory, 1965-1995. New York: Princeton Architectural Press, 1996.
Oswalt, Philipp. “Iannis Xenakis' Polytopes.” Accessed December 20, 2023. http://www.oswalt.de/en/text/txt/xenakis.html Originally published as Oswalt, Philipp. “Polytope von Iannis Xenakis.” Arch+ (1991), no107: 50-54.
Pagano, Giusepe, and Guarniero Daniel. Architettura rurale italiana [Italian rural architecture]. Milan: Hoepli Editore, 1936.
Pagano, Giuseppe and Guarniero Daniel. Architettura Rurale Italiana [Rural Italian architecture]. New York: The Museum of Modern Art, 1936.
Palombini, Carlos. “Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music.” Computer Music Journal 17, no. 3 (1993): 14–19. https://doi.org/10.2307/3680939.
Pegg, Carole et al. “Ethnomusicology.” In New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 367–403. London: Macmillan, 2001.
Piekut, Benjamin. “Chance and Certainty: John Cage’s Politics of Nature.” Cultural Critique 84 (2013): 134–63. https://doi.org/10.5749/culturalcritique.84.2013.0134.
Portoghesi, Paolo. After Modern Architecture. New York: Rizzoli, 1982.
Rudofsky, Bernard. Architecture Without Architects: A Short Introduction to Non-Pedigreed Architecture. New York: The Museum of Modern Art, 1964. https://www.moma.org/calendar/exhibitions/3459
Schaeffer, Pierre. A la recherche d'une musique concrete [In Search of a Concrete Music]. Paris: Éditions du Seuil, 1952.
Shiner, Larry. La invención del arte: Una historia cultural [The Invention of Art: A Cultural History]. Translated by Eduardo Hyde, and Elisenda Julibert González. Barcelona: Paidós, 2004.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966.
Stanek, Lukasz. “Introduction: A Manuscript Found in Saragossa; Toward an Architecture,” introduction to Toward an Architecture of Enjoyment, by Henri Lefebvre, xi-lxi. Translated by Robert Bononno and edited by Lukasz Stanek. Minneapolis: University of Minnesota Press, 2014.
Stanek, Lukasz. Henri Lefebvre on Space, Architecture, Urban Research, and the Production of Theory. Minneapolis: University of Minnesota Press, 2011.
Tissot, Gaël. “La musique acousmatique de François Bayle: Entre ombre et lumière, une musique de transparence” [François Bayle's acousmatic music: Between light and shadow, a music of transparency]. Musurgia 14, no. 34 (2007): 57-73. http://www.jstor.org/stable/40591495.
Trebitsch, Michel. Preface to Critique of Everyday Life, Volume I: Introduction, by Henri Lefebvre, ix-xxviii. Translated by John Moore, with a preface by Michel Trebitsch. London: Verso, 1991.
Treib, Marc. Space Calculated in Seconds: The Philips Pavilion, Le Corbusier, Edgard Varèse. Princeton: Princeton University Press, 1996.
Vasari, Giorgio. The Lives of the Artists. Translated by Julia Conaway Bondanella and Peter Bondanella. Oxford and New York: Oxford University Press, 1991.
Xenakis, Iannis. Musique de l’architecture: Textes, réalisations et projets architecturaux choisis, présentés et commentés par Sharon Kanach [Music and architecture: architectural projects, texts, and realizations; compilation, translation, and commentary by Sharon Kanac]. Marseille: Parenthèses, 2006.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Clara Germana Gonçalves, Rogério Paulo Vieira de Almeida
This work is licensed under a Creative Commons Attribution 4.0 International License.
