For years, I’ve explored a simple question: can the music architects listen to while designing leave traces that remain embedded in the concert halls they create? This inquiry began with my first encounter with Florence Cathedral and later deepened through its relationship to musical proportion, including Guillaume Dufay’s work.
Over time, my research shifted toward concert halls, where music and architecture converge most directly. From my musicology master’s thesis on Iannis Xenakis and the Philips Pavilion to workshops and artistic projects, I have investigated how spaces designed for listening might themselves preserve a musical memory.
Archisonic is an ongoing project developed with the support of an FSSF grant. Beginning with architect Nevzat Sayın’s account of repeatedly listening to Yellow Submarine while designing The Seed Concert Hall, the project reverses that creative relationship: instead of music informing architecture, the concert hall itself becomes the musical score. Through its spatial memory, the building is translated into a new site-responsive composition. You can find the related works down below.
The Seed Concert Hall
Mimar: Nevzat Sayın
Submarine Symphony
2025
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