© 2017 – Routledge
178 pages | 9 Color Illus. | 83 B/W Illus.
Drawing conceptually and directly on music notation, this book investigates landscape architecture’s inherent temporality. It argues that the rich history of notating time in music provides a critical model for this under-researched and under-theorised aspect of landscape architecture, while also ennobling sound in the sensory appreciation of landscape.
A Musicology for Landscape makes available to a wider landscape architecture and urban design audience the works of three influential composers – Morton Feldman, György Ligeti and Michael Finnissy – presenting a critical evaluation of their work within music, as well as a means in which it might be used in design research. Each of the musical scores is juxtaposed with design representations by Kevin Appleyard, Bernard Tschumi and William Kent, before the author examines four landscape spaces through the development of new landscape architectural notations. In doing so, this work offers valuable insights into the methods used by landscape architects for the benefit of musicians, and by bringing together musical composition and landscape architecture through notation, it affords a focused and sensitive exploration of temporality and sound in both fields.
1. In an Open Field. Reflective Window. Made by Walking. Everything Under the Sky. The Deception of the Eye. Time Revealed, Time Concealed. Uncertain Precedents. The Time of Music. Creative Transcription. A Musicology for Landscape Architecture. 2. A Parallel History of Time in Music and Landscape. Music. Landscape. 3. Horizons. Morton Feldman. Space in the Development of Music Notation. Time Represented by Space. This Departing Landscape. ‘Realising’ Feldman. Sound and Shaped Time. Transcribing Manhattan. Sounds of the City. Notation of Space. 4. Clouds. György Ligeti. Sound on Paper. Dimensions of Time and Space. The View from the Road. A Cinematic Landscape. Lines Burnt in Light. The Time of Landscape. A Proximity to Notation. Notation of Time. 5. Meadows. Michael Finnissy. Melty Watercolours with Samuel Palmer Gloom on Top. Landscape Drawn Through Sound. Pink Elephants. Each Bird is Known by its Song. 655 Seconds of Antipodean Landscape. An Iconography of New Landscape Notations. 923 Above. Early Design Notation. Rousham’s History of Sound. Five Over Eleven. Ut Pictura Sonitu. Concluding the Picturesque. Notation of Material. 6. Busoni's Garden. Horizons, Clouds, Meadows. A New Relationship to Notation. Touching at a Distance. Sound Plus Vision. Notation as Landscape, Landscape as Notation. Busoni’s garden. Bibliography.
Bridging a range of positions between practice and academia, this series seeks out the best proponents of architectural design research from around the world. These texts will be varied in tone and structure, and will discuss aspects including design method, visual representation, textual analysis, social processes, and strategies for action. The series is to be deliberately inclusive in order to encourage a novel and vibrant kind of approach for architectural research. Each of the books will contain a large amount of serious and innovative historical or theoretical research, combined with creative propositions realized through a mixture of drawings, models and textual analysis. It is the essential symbiotic interplay between these components which creates the framework for design research in architecture.
The precise working of the interplay of text and project in architectural design research remains a much debated and relatively unformed issue, and this is of course symptomatic of the conditions facing any newly emerging subject area. The broader questions and theoretical structures of design research have formed the basis of discussions in international refereed journals such as The Journal of Architecture, and there is undoubtedly more intellectual work to be done in such areas. But there is also the need to form knowledge and method through actual propositions, with these studies enabling their authors not just to explore, propose and reflect on their specific subject-at-hand, but also on the wider nature of design research in general. It is for this express reason that this series aims to publish as widely as possible a number of the very best outputs in the field of design research, to allow others to use them as exemplars or to take issue with them through reasoned critique. It is a fertile time for design research and this book series will act at the heart of these investigations and discussions.