Može se reci da je zvuk je nosilac atmosfere ciji je prostor sadržalac, fizicka definicija onoga što opisuje i cini muzika. Kompozicija, posmatrana kao disciplina kombinovanja i povezivanja delova odredjene sadržajno, funkcionalno ili formalno srodne celine predstavlja disciplinu koja ureduje ove delove u muzicku ili arhitektonsku celinu.
Arhitektura uvek nastaje kroz rešavanje problema i prevazilaženje ogranicenja koja pred nas postavljaju priroda i covek. Ova prica pocinje sa gravitacijom. Za mnoga arhitektonska rešenja ona je cista inspiracija koja vodi do smelih konstruktivnih rešenja. Od uticaja vazduha, sunca, vode, vatre, osvetljenja preko odlucivanja o obliku, položaju, odnosu, kontekstu, etici i estetici mi se neprestano nalazimo pred problemom koji treba rešiti. Ovakva ogranicenost dovodi nas u sasvim jasnu pocetnu poziciju u razmišljanju o kreaciji.
Arhitektura nastaje na zahtev, prostor je promenjen kada za tim postoji potreba. Prostor postoji svuda oko nas i mi ga prilagodavamo.
Muzika zahteva pažnju i razumevanje. Otkad smo otkrili da jedinice od kojih je sacinjena muzika ne moraju nužno biti cisti tonovi, poceli smo da ukljucujemo nasumicno izdvojenu buku u kreaciju koja postaje sve više okrenuta samoj sebi pre nego nekoj objektivnoj i narativnoj strukturi. Zvuk je svuda oko nas, mi ga razumevanjem doživljavamo kao muziku.
Arhitektonska struktura je izgradena na prostornom rasporedu elemenata fizicke strukture koji služe zatvaranju, pregradivajnu, oslanjanju... Ona je izgradena od jedinica upotrebe prostora grupisanim u celinu koja je funkcionalno organizovana odnosno prostorno povezana.
Muzicka struktura je izgradena na rasporedu elemenata zvuka u vremenu. Ovo se može odnositi na fraze u izvodenju simfonijskog orkestra kao i na ritam koraka u snegu. Suština je u obracanju pažnje. Ako primetimo povezanost i ritam zvucnih impulsa, u našem umu javlja se ideja o muzickoj celini koja ima sopstvenu logiku odvijanja.
Kompozicija je uslovljena prostorom u kome je instalirana. Kroz istrazvanje mogucnosti odredjenog prostora da sadrzi sliku zvuka, igrala sam se rasporedom ovih "zvucnih rupa" - mesta gde zvuk nestaje u odredjenoj meri, u zavisnosti od frekvencije kao i polozaja zvucnika. Ove "rupe" predstavljaju kljucni element prostorne strukture. Suprotstavljene tackama gde je zvuk "pun" pne grade dijagram prostorne organizacije postignute kroz projekcije zvuka iz zvucnika.
Postoje dve dinamicke sheme koje cine muzikcu strukturu ove situacije. Predvidljiva shema je ostvarena kroz promene frekvencija koje zvucnici reprodukuju. "Zvucne rupe" menjaju mesta, "plesuci" u prostoru u odredejnoj koreografiji. Nepredvidiva shema sacinjena je od pokreta kroz prostor, buduci licno iskustvo posetioca koje se razlikuje za svakog pojedinacno.
Ovakav pristup vodi ka uspostavljanju arhitektonske strukture koja je sacinjena od projekcija i interferncija zvuka, nematerijalnoj arhitekturi.
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We could say that sound is the carrier of the atmosphere that is enclosed in the space, in the physical definition of what is described and created by music. Composition, dealing with combining and connecting parts that have a functional or formal relation to each other, is a discipline that organizes these parts into a musical or architectural piece.
Architecture is always created through development of solutions for problems and overcoming of the limitations that are put on by nature and men. This begins with the influence of gravitation It represents pure inspiration for a lot of architectural projects, leading to brave constructive experiments. From the impact of the air, sun, water, fire, enlightening… through decisions on shape, position, relation, context, ethics and aesthetics we are constantly facing a problem that needs to be solved. These limitations bring us in a very clear starting position for thinking about the creation.
Architecture becomes on demand, the space is changed when there is a need for that. The space is surrounding us and we are adapting it.
Music demands attention and understanding. Ever since we discovered that the units that music is made of do not necessarily have to be pure tones, we started including random noise in a creation that becomes more and more oriented towards itself than towards some objective and narrative structure. The sound is surrounding us and through its understanding we are experiencing it as music.
Architectural structure is built on the spatial distribution of elements of physical structure that serve enclosing, separation, opposing the force of gravitation... It is built on units of usage of space that are spatially connected and grouped into a whole which is functionally organized.
Musical structure is built on the distribution of elements of sound in time. This can be applied on the phrases in a performance of a symphonic orchestra as well as on the rhythm of footsteps in the snow. The essence is in the attention. If we notice the connection between sound impulses, an image of a musical whole is created in our mind, a whole that has its own logic of happening.
The differences in approaches that are characteristic for these disciplines were the reason for a specific step out of the shape-time diagram into a sound-space structure. The conception of architecture is based on the experience of open and closed spaces. On the contrary, there will be no physical difference between units of space that are forming the architectural structure of .
The collaboration of sound and space is built upon the usage of sound for defining the space. Sound barriers define the relations of the space units that could have been achieved through a set of physical walls. The musical structure which is established by moving through this space is a composition that, in the time of one visitor, behaves always differently.
This composition is dependant on the space where it is installed, which makes it completely site-specific. Through a research of possibilities of a specific space to contain the image of sound, I played with positions of the “audible holes” - places where sound disappears in certain amount, depending on the frequency and on the position of speakers. These “holes” represent the key element of the space structure. Contrasted to the points where the sound is full, they create a diagram of spatial organisation achieved with projections of sound from the speakers.
There are two dynamic schemes that create the structure of the musical peace. The predictable one is achieved through the changes in frequencies played form the speakers. The “audible holes” are changing positions, “dancing” in the space by certain choreography. The unpredictable scheme is created by moving through the space, being a personal experience that is different for every visitor.
This kind of approach leads to establishment of an architecture built upon the projections and interferences of sound, an immaterial architecture. selenasavic.at.artfama@gmail.com