摘要
有许多种方式可以用于探讨建筑与音乐的关系。文艺复兴之后,建筑的比例理论经常被联系到音乐的和音上。我也曾比较过建筑的空间与音乐的时间之间的关系,得出的结论是它们在中世纪具有相同的结构特征这篇论文集中讨论了为了音乐的空间:矶崎新为路易吉·诺诺的歌例《普罗米修斯》设计了特殊的音乐厅:卢泽龙一利用自然风的流动,在日本创造了一座可作为乐器的教堂;19世纪,伟大的作曲家理查德·瓦格纳与建筑师戈特弗里德·森佩尔合作设计并建造了拜罗伊特节日剧院,那是一座完全新型的剧院.将观众隔离在一个能纯粹地感受音乐的世界。
There are several ways to argue the relationship between architecture and music.After the Renaissance,the theory of architectural proportion was often related to musical harmony.In previous work I compared space in architecture and time in music and explicated the same structure of both in the middle ages.This essay focuses on space for music.Aratalsozaki designed special music hall for Luigi Nono＇s opera Prometeo.Ryuichi Ashizawa created a chapel as a musical instrument using flow of natural air in Japan.In the 19 th century,the great composer Richard Wagner collaborated with architect Gottfried Semper to realize Bayreuth Festival Theatre.That was a completely newtype of theatre to be perceived in pure musical experience.
出处
《世界建筑》
2016年第2期16-21,132,共6页
World Architecture
