The music of the sea: An observatory of music, space and time

Abstract

There is a significant connection between music and architecture. Similarities could be found not only in terminology but also in the ways architects and composers approached their work. Architects made decisions based on feelings, intuition, and experience while sketching initial concepts, much like composers beginning their first musical scores. In both disciplines, the creative process is driven by an invisible force, an inspirational flow influenced by the surrounding environment. This thesis explored not only the existing relationship between music and architecture, but also emphasised the importance of the connection between humans and nature, the senses, and soundscapes. It critically examined how our sensory experiences have been diminished by modern technologies such as headphones, speakers, and mobile phones. At the beginning of the thesis, a list of shared terminology was developed as an inventory of overlapping terms between the two disciplines. This served as a conceptual framework for the design process. Defining these terms helped to visualise the Keywords: Architecture, music, resonance, sea, watercolour similarities and differences between architecture and music, which were later translated into spatial structures during the design phase. The chosen site for the project was Ganleberget, with its rocky landscape near the sea. The intention was to observe and map the site using photography and watercolour techniques, highlighting phenomena related to the defined terminology. This exploration served both as inspiration for the design process and as a means to emphasise the musicality and form of the landscape. The final architectural design proposal expresses the musical character of the site through watercolour interpretations and spatial experimentation. A walk-through structure was designed to allow visitors to experience the sensations of music. The design aims to enhance the connection to nature by creating a space that offers a shifted perspective of the site, introducing a fourth dimension. The visitor’s movement through the structure becomes an emotional expression of the landscape’s inherent musicality.