For years, I’ve explored a simple question: can the music architects listen to while designing leave tracesleft to infinity in the buildings they create? This idea began with my first encounter with Florence Cathedral and later deepened through its links to musical proportion, including Dufay’s work.
That inquiry led into my musicology master’s thesis on Iannis Xenakis and the Philips Pavilion, and it has continued through workshops and artistic projects that move between music and architecture.
Archisonic is a project developed with the support of an FSSF grant. Building on architect Nevzat Sayın’s account of repeatedly listening to “Yellow Submarine” while designing The Seed Concert Hall, I reverse the direction of that inspiration: rather than music shaping architecture, the building’s form, colour, and spatial language become the source material for a new musical composition. You can find the related essay at the link below.
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