By Barie Fez-Barringten
bariefezbarringten@gmail.com
www.bareifez-barringten.com
Published:User's metametaphoric phenomena of architecture and Music":
Published:User's metametaphoric phenomena of architecture and Music":
“METU” (Middle East Technical University: Ankara, Turkey): May
1995"
Journal
of the Faculty of Architecture
6,378 words on 26 double spaced pages
What role does the general public have in metaphors?
The answer lies in the comprehensive application of the metaphor to the
wider field of all the arts, and specifically architecture and music. Recalling that much has already been written
about the relationships and analogies between the two this work explores
neither the work nor architecture but their part of a metaphoric holism whereby he or she (user) completes a metaphor
interacting with more value than the mere sum of elementary components.
The
commonalities and differences of music and architecture highlight the commonality
of composer, performers, audience and users.
The architect is likened to the composer and their commitment to project
their experience to the user/audience through builders and performers into the
work. This monograph refers to the
author's notes from a lecture series at Yale University: Architecture the
making of metaphors involving, amongst others, Paul Weiss and William J.
Gordon.
Additionally,
this work recalls Daniel MacGalvray's research from his article in the proper
Education of Musicians and Architects".
The discussion about the kind of effort expended to appreciate music and
architecture refers to George Dodds On
the place of Architectural speculation.
Metaphors,
Architecture & Music
Indeed, the evening was replete with making leaps back into history to
seemingly unrelated events. Even the
musical program of Schubert, Beethoven, Mozart and Dvorak conjured
"barocco" visions of courtly recitals of other periods and
places. We also noticed the many
languages and dresses of the audience and yet we were all attending this one
concert. It then occurred to me that we
were all participating in a metaphoric event which had everything to do with
architecture. Perhaps this event and our
role as an audience and participants in this metaphor could shed light on the user’s
role in works of architecture. Because,
that night we were audience, participants and users. The persons of the metaphor So much have
already been written about the relationship between music and
architecture. Particularly about music's
design components and overall modes and meanings.
But this night I realized that the audience to this concert was not
unlike a building’s. We both had a
relationship to a Context: weaving together of words, connections; coherence;
the interrelated conditions in which something exists. We were a group of
listeners, spectators and preceptors; reading, viewing and listening in
public.
Metaphors,
Architecture & Music
We were amongst those to whom things were made audible by the originator,
designer, assembler and composer of the works.
Before playing each piece one of the musicians would remind us to
remember the composer, his intentions about the work and his life in relation
to the work. It occurred to me that I
had not read anything about metaphor's relationship to architecture. Particularly about their performance; yet it
was the performance in which we all were involved.
Having already been to other recitals, in addition to listening to the
sound of the music one also watches the communication between players. It is as though one is watching a
"musical conversation".
Recitals seem to have that quality.
Each plays the libretto composed to create interactions between
players. But they add so much more by
the movement of their body, head and eyes.
Their face expresses agreement and satisfaction about the timing,
quality and acoustics of what they hear and see. We are watching them make a metaphor between
themselves and the composer, the audience, and all using the years of skill
with their instruments. This evening’s
instruments were the violin, cello, viola and piano. I noticed the way in which each of the players
positioned themselves on their chairs in relationship to each other, the stage
and the audience. They could do little
about the theatre or the metal building except ask that only during the
performance the air-conditioning be shut off because of its' noise. All
musicians, dancers and actors have specific routines, responses and actions
which as letters in a word, words in sentence, etc, string together to complete
the intended metaphor.
Metaphors,
Architecture & Music
Originator to User
I began to sketch and plot their positions which then led me to recall
how attentive we were in selecting where we'd sit to watch the performance. We also noticed others who did the same. This was one of the components of how we, the
audience, must participate in completing the making of the metaphor: the one
originally intended by the composer and the theater's architect. I recalled the
way in which we perceive buildings and the analogies between seat selection and
positioning in buildings.
When we enter restaurants and snack shops we look for views, proximity to
fountain features, exits, entrances, etc.
When we sit in living rooms or lounges we try to find comfortable seats
with views, position in space, location to perimeter, center, etc. In planning the layout of an existing
apartment or house we care for locating each piece of furniture and functional
item on the basis of our vistas, views, position, hierarchies and
priorities. Our experience with each
building type is generic with both interchangeable and unique
considerations. We take responsibility
for the control of what we are going to experience in any given situation
depending on the length of time, importance, social standing or privacy of the
situation. We may settle for one
position on a subway ride but yet another in a bus with a view. One position in a concert yet another in a
metal auditorium building Aside from
our instincts for comfort and obvious mundane necessities we are also aware of
yet another responsibility.
Metaphors, Architecture
& Music
We are aware that we are the final players in a scenario devised well
before our arrival. We are kind of
actors or performers playing out the rationale of the place. This then was the link between music and architecture
relevant to contemporary orientation; differences between music and architecture.
Architecture and music are apparently
different from one another. One is
static and the other dynamic. One is
performed the other shelters. They are
both experienced in different ways.
Music is best experienced by being physically passive while architecture
active. Music, as such is experienced by
the ears, while architecture by the sense of vision, touch, smell and sound
(acoustics).
Particularly these days when we can appreciate music through electronic
media; or the connoisseur by reading street music. The differences between
architecture are vast: one is a while the other is an applied art. Indeed they both have a spiritual, sensual
and unseen dimension but music will not shelter nor materially limit and bound
space. The differences focused my
attention beyond their dance music and, background music (Muzak), ballet, etc.
are exceptions as are rooms where we sit lie, stand still etc.
Metaphors,
Architecture & Music
Architecture's perceptions are in operations and perceptions in relation
to operations while a connoisseur understands the details, technique or
principles of music, architecture, painting, etc. and is competent to act as a
critical judge as one who enjoys with discrimination and appreciation of the
subtleties of our metaphors we are each
the cognizer.
Paul Weiss says in his book “Nine basic arts" that music and
architecture both limit and bound space. (But not materially: different
technique, limiting and bounding) aesthetics and analogous artistic dimensions
to the way they are completed metaphor we can better understand the
commonalities and differences between origination, making and experience. All the sizes, heights, clearances and
dimensions of rooms and corridors are contingent upon people and the quantity
of people a facility must accommodate.
The Metaphor of music and architecture Metaphor is a literary term which means
"carrying-over"; it associates meanings, emotions, things, times and
places which otherwise would not have been related. Metametaphorically times and places (or any
essence thereof) known to have a preferential, specific or localized use in one
context are explicitly employed in another.
One familiar and one strange term are usually composed into a single form
where one term normally used in one context is brought over into another with
the object of illuminating; making more evident © something in the second
domain which otherwise remains obscure.
The best of metaphors allow us to express two truths at the same time
about two times, the past and future; the past can illuminate the future or the
future the past. They are
interactive. Both ideas converge on the
idea of some activity, vision, or idea.
Metaphors,
Architecture & Music
The metaphor points beyond each of its members to the reality then
diversity express, articulating a power common to both, telling us that both
have an intrinsic nature. “Complete;
bring into a perfect stage; execute fully; having all the necessary parts”
says: Paul Weiss in “The metaphorical processes published by Main currents in modern
thought, Sept Oct. 1971.
A part may be more comprehensive; transcending; change or transformation
used with the metaphor to designate its new but related function so as to deal
critically with the original concept of the metaphor.
Functional performance is a quality that depends and varies with another:
as elements of a metaphor. Music and architecture are experienced in the same
way. They are both composed through the
experience of another person and in his context. The strange context and other person's
experience are encapsulated in a composition, design, assemblage, or some other
work of applied art for us to experience in our context in the future. That future is the present where we, in our
context, experience the original composition.
The two times, past and future contexts: the composers and ours converge
on the work. We perceive the work in the
present stimulated by signals. These signals
in music are in the form of volume, syncopations, crescendos, tones, notes
etc.
In architecture it is materials, structures, textures, light, shadow
etc. Both music and architecture can
create scale, harmony, space, tension, compression, vision, illusions,
etc. Music and architecture both are
joined together by metaphoric works; sorted through the signals in the work the
place, events, and history of the origins of the work. We compare them with our place, time and
context. We see commonalities and
differences: it is a metaphoric experience.
Metaphors,
Architecture & Music
This explains why concert hall architects try to create the kind of
visual and acoustical context compatible to the function of the performers and
the audience. In doing so he recreates
the vision of the composer and a context common to composer, performer and
audience, signal, sign, an act, event, or sound that has been agreed on as the
occasion of concerted action, something that incites to action. A meaningful linguistic, musical or architectural
form, it is distinctive and conspicuous.
Music and architecture's commonality Paul Weiss in "Nine Basic Arts”
classifies music with architecture as arts that enclose a created
dimension.
That dimension may be space, time or becoming. "Just as the composer must be familiar
with conducting and performing, the designer must know the skill's of the
builder and the crafts person".
Creative composers, skilled conductors, and talented performers are
joined by their original study of a theoretical and historical common body of
musical knowledge that binds them together as musicians. There is the shared universally accepted
musical language.
Metaphors,
Architecture & Music
It is in the harmony of these sounds in some systems that musicians and
audience appreciate the scale, dimension and visions of the composition. Both architect and composer begin with a
concept, an idea of involved in a creative act, which may then be written down
using an accepted notation system. But
where is the composer or the audience in this metaphor. To find him or her we must explore the metaphor
which links the two arts. Why are they
both an art and how are they significant and relevant to our experience as
natural human beings? The literary
metaphor says MacGilvray, D.F., “The proper education of musicians and
architects (JAE, Nov. 92). About one thing in terms of another and makes the
strange familiar. As it does it
identifies our position in society and is the emblem of who we are. We are not the metaphor but our experience of it is as real as anything else we know. As we perceive it is our virtual reality. It contains our identity, signs and
signals. Its' vocabulary, symbols and
characters are symbiotic. The metaphor
itself is symbiotic and our relationship to the metaphor is symbiosis.
The metaphor is a vehicle change.
It transforms and it is a transformer.
It works internally between its' elements and upon us as we complete metaphor. It is completion that users and audience
participate in the ultimate creation of any metaphor Like music, architecture issues from the past
a past which is multifaceted. There is
first the past of the composer, the metaphor maker, and the architect of the
metaphor, his or her background, training, experience and knowledge. There is also the whole history of music and
architecture. For the musician as well
as the architect both are brought up in the world of their art. Art is a skill acquired by experience, study
and observation. It is a conscious use
of that skill along with creative imagination in the production of the
work. The metaphor is not only an idea
but a composed and created idea over a period of time and experiences.
Metaphors,
Architecture & Music
Weiss, P. says “The metaphorical process architecture, musicians and an
audience to a performance share common operations. They participate in a mimesis which reveals
the original. Meaning is established in
both simulacrum and lack of resemblance.
Both the strange and the familiar can be read. Users, musicians and audiences do not
imitate the composer's specific action but rather his creative process. The musicians as well as building’s users
utilize techniques which enable this recreative process, musicians more so than
users or audiences. But all share their
faithfulness to the original composer; it is only the musician who has
committed himself to techne" recreation in a consequent, responsible and
accountable effort. He enters into a
discipline of special signals, skill and craft. He can be more likened to
architect's craftsmen and artisans who build from the architect's plans. Both builders and musicians perform according
to techniques and systems and in concert halls which transcend any one
composer, place or country. It is the
composer and architect who write for extant artisans who must use their known
instruments, notes and language of music to reproduce the musical thought. The audience and users of the work of
architecture both benefit from the performance of the artisans.
The finished building, like the musical recording becomes the vehicle
through which the metaphor is experienced.
It is one of the common links between the composer and the
audience. It is as a constant in the
vision of the composer as his sheet music, the instruments and the
musicians. It is not the live
performance of the builders in process which users of architecture
Dodds, G., "On the place of Architectural speculation" (Journal
of Architectural Education, Nov. 92) "Techno" or technique is a
method of accomplishing a desired aim, includes the architect's planted and endued
signals. On the other hand the audience
of music does enjoy the humanity of the way in which a musical metaphor is
performed.
Metaphors,
Architecture & Music
The users of architecture do however enjoy the quality of craftsmanship,
faithfulness and fidelity to the architect's intentions. He or she perceives it not while it is being
produced but after it is completed Architecture as frozen music Goethe referred
to architecture as “petrified music ".
Both concepts refer to the difference between the perceptions of the
craft. With musical rendition it is neither frozen nor petrified but
dynamic and flowing.
Users complete the Metaphor Completion of a metaphor implies that a metaphoric
conception is complex and a system which includes all the dimensions in which
it exists. This includes the of everything that satisfies the
metaphor context, place, conditions,
composer, vehicles, instruments, techniques, medias, frames, settings,
scenarios, performers, audiences, preceptors, users, operators, makers,
assemblers, artisans, craftsmen, etc.
Any one or another kind of a metaphor ultimately is an admixture of a
number of constants and variables that finally completes the metaphor. Every metaphor is never all together totally
complete says MacGilvray, D.F., "The proper education of musicians and
architects (JAE, Nov, 1992)
A metaphor is rendered when it gives back, transport to another, restores
and it imports to reproduce by artistic means.
A metaphor translates; performs, and interprets. A metaphor is complete
and brought to an end having all its necessary parts fully carried out. A Metametaphor is concluded and in a
perfected state when it has all its parts and closed successfully.
Metaphors,
Architecture & Music
Reified and created by technique from experiences with the elements of
the metaphor the composer has experienced the metamorphosis of the
elements. He has "seen" the
commonalities, the differences and the essence common to both. In any case the building’s is a variable in
the experience of the metaphor and
depending on his choices, decisions, faith, discipline, conditioning, skill,
commitment and language skills will he participate. But he is part of the metaphor. He will perceive and read what is composed,
played, constructed and generally أreified. The metaphoric composition does not include him in it’s' character, vocabulary, form,
style, meanings, definitions, derivatives, signs and symbols.
Metaphor conditions
the composition of the metaphor. A metaphor for one may be inappropriate for another.
This is because the users vary. R.J. Kaufman said "we conjure up
our own metaphors' for our own needs". When some
thing abstract is reified to material or concrete thing it becomes a metaphor
Metaphors,
Architecture & Music
In a synectic experience the use tests the work to prove it’s'
claims. He employs the work by
occupation, exercise or practice. The
user seeks to benefit or profit by putting the work into service. He operates within the work and manipulates
it to carry out a purpose. The user
personalizes, enjoys and mindfully probes the work, seeking correspondence
between him and the composer's intentions.
For every move though space, at features, near limits and boundaries the
user applies what he has learned in other contexts to achieve his purposes in
the current work.
The user is constantly comparing all
previous experiences with the one he currently experiences. He compares all former cues, signs, and signals
for elegance and correspondence. The metaphor interacts with our past
and circumstances to modify the meaning of our lives.
Irving
Kriesberg said that painting
was a metaphor.
The arts all transform
our natural lives, needs and necessities to the ethereal.
The metaphor lends significance to the mundane the ordinary.
We know who we are, our value, status and rank in society by the metaphors in which we live, work and play. We seek a well orchestrated system of consistent
metaphoric standards by
which we wish others to judge us. We
want to be known for our metaphor...
The user of a metaphor is in the scope of the metaphor’s program. The user is an inherent part of metaphor without which
the objects of the form have no meaning.
Metaphors, Architecture & Music
William J.
Gordon identified synectics to bring forth together: a theory of problem stating
and problem solution based on creative thinking that involves free use of metaphor
and analogy in informal interchange within a carefully selected small group of
individuals of diverse personality and areas of specialization. Elegance scientific
precision, neatness and simplicity: select high grade or
quality.
*Correspondence is the agreement of things with one another; a particular similarity
a relation between sets in which each member of one set is associated with one
or more members of the other: mapping: function.
*Quality of what kind:
who: a peculiar and essential character: nature, and inherent feature;
property: capacity; role; social status; rank.
A distinguishing attribute;
Meaning purport: the
thing that is conveyed: intended; significant quality.
*Gordon, W.J.J.," Synectics":
The metaphoric way of knowing
*Fez-Barringten,
B.: Introduction: Architecture, the making of Metaphorsؤ
"Notes from a Symposium: (Main currents
in Modern Thought Sept. Oct.
1971).
Metaphors, Architecture & Music
The Past and
Future
The concert hall, musicians, and
particularly the music, composer and his history are on one side of the
metaphor along with the past of their society, civilization and culture. Even today's music is, in part, a function of
what we have gone through and of what the past has been. Music, architecture and the other arts relate
the past to the present through the creative aspect of the dynamic metaphor
.
A work of art may bring the past
forward directly, or it may distort or negate it, but it is always in usage, a
manipulation, of what has gone before in terms of the present".
Classic music, particularly operettas, operas
and small recitals in some places are performed in the original theater where it
was first played and with the performers wearing the clothes of the original
period. Ethereal lacking material substance; intangible: marked by
unusual delicacy and refinement... Mundane characterized by the practical,
transitory and ordinary; earthly measure; a proportion between two sets of
division, a distinctive relative extent.
Metaphors, Architecture & Music
(1.1.) Weiss, P. The metaphorical processؤ
In these cases there is an attempt to
literally recreate the context of the composer in order to
share with the audience so that the audience and the composer would share a
common context, and that the Metaphor
experienced
by the composer would be imparted to the audience through the artifacts common
to both, present in both times, the past the future. Even the instruments will be the same ones
used at the time.
In the performance we saw in Dhahran
for example the instrument
was
made in 1724 by Alexander Gagliano. This
instrument itself drew our attention and indeed recalled whatever we know about
the history of the composers. It was a
way of recalling royal courts, regal pomp and pageantry, of the suffering
experiences of the composers and of our own plights.
Neither music nor architecture is
produced without some awareness of the future.
Particularly the plan of the work to be accomplished and the functions
the work it is to perform. Is it to be a
school, residence, restaurant, office building etc? The quality of workmanship, availability of
craftsmanship, and materials for architecture equate well to the discipline of
musicians, their instruments and the system of sheet music reproduction,
orchestration and distribution. The
composer in the past must have considered all these needs of the future.
Metaphors, Architecture & Music
A future in which he participates
through planning and foresight however, is closed to us and, therefore, we
cannot perceive the reciprocal movement of the two way relationship of the
metaphor.
We cannot affect the past, it is gone
forever. Metaphors at their best are
reciprocal and therefore a metaphor
composed
today which (P. Weiss) "begins with the past cannot be a very good
one". However, classical music was
the metaphorical process planned for the future for us to participate in its'
metaphor,
Its' composers acted on the
future. What composers and architects
devise today may condition the future; a future which is continually being modified
by present action and therefore will not conform to our vision of it which is
abstract and can only embrace the possible.
Architects and composers who do not include the hearing range of an
audience; the competence and skills of the musicians; the acoustics of the instruments;
nor the proportions, functions and context of the users are doomed to
obscurity. Their works are bound to be
demolished, shelved or ignored, at best made into curiosities and symbolic of
despotic ignorance. Metaphors conditioned by
the user, considering his instincts to adapt, vary and change, interact with
the future.
Metaphors, Architecture & Music
Metaphor's value Musical forms in many societies have
been added since the classics and with them the notion of the temporary,
transient and obsolete. Further, the
notion of works prepared for the highest of Roman
citizen where each and all works established a recognized value and a standard of
excellence. They were thought of as
permanent with a life span into our time and even beyond; not only the
materials, construction and structure but the ideals of excellence and
perfection.
The classics established systems, orders and
laws of standards of universal and enduring validity. That is why classics are appreciated today as before. We not only tune into themes and idioms but
are able to identify ourselves with their high standard of quality and human
accomplishment. Attending such concerts
one becomes part of a group ostensibly metaphor, but it is actually to participate
in the metaphor.
.
Participate by confirming and sharing
the same, if not intended similar economic or social status. Enjoying the music alone in this sense
becomes a culturing experience
allowing ones self to be positively affected by the quality of the music. It is the act of developing the intellectual
and moral faculties. It is culturing by the enlightenment and excellence of
taste acquired by intellectual and aesthetic training.
Metaphors, Architecture & Music
It is the mission of such metaphors to use their transformation change capabilities
to transmit knowledge to succeeding generations. Classic
metaphors which culture include the integrated pattern of human knowledge,
belief, and behavior that depends on audience
and preceptor’s capacity for learning and receiving. The user must be receptive and somewhat
like the musician or the audience: eager, zealous and motivated to vicariously
enjoy the composer’s genius.
Works of architecture and their users are
endued with this excellence and these
standards. That is why they provide us
with a measure of our accomplishments and relative position in society. Once known and understood it may be dialectically rejected, in this way metaphorsؤ
dialectic
tension between two interacting forces.
"Strictly speaking, a metaphor involves the carrying over of material
ordinarily employed in a rather well defined context into a wholly different ostensible plausible
rather than demonstratively true or real: dialectical materialism development through the stages of
thesis. Thesis a
system of reasoning that juxtaposes (metaphor opposed or
contradictory ideas) and usually seeks to resolve their conflict.
Metaphors, Architecture & Music
(Weiss, P), “The metaphorical process situation. If there is not initial separation between
the two elements, there is no metaphor. The metaphor involves the intrusion not of neighbors
but of aliens. It brings together what
seems to be radically different in nature".
The user as the second composer:
We now know that the metaphor is completed by the choices and decisions of the
user as perceptor or even performer.
But can he intervene and take responsibility in the metaphoric composition?
The answer is an emphatic, yes! There can be more than one composer, architect,
engineer and interior designer. But
these are usually associated with those teams caring out their work in the
initial design period before beneficial occupancy. The very big exception is commercial office
and retail space which is initially designed for unknown future tenants. These tenants themselves are left to design and
often build to suit their own needs and aesthetics within established
frameworks of the project. The cry for
user involvement is more than that. It
is a cry for user's social and psychological character and personality to be
expressed. It is also a cry to
redistribute large fees paid to the original team. If those fees and the projects could be organized
so that future occupants could not only be represented in the original creation
but that the original creator would devise a way to surrender his fees, control
and responsibility to future occupants.
Metaphors, Architecture & Music
The architect of public works is the
authorized responsible agent for the needs of the public. Although he is the consultant to the owner (who may or may not
ultimately retain ownership) his role as the user's agent is to look out for
the health, safety and welfare the users
and the owner as well as insure that the owner will receive from the contractor
the planned quality at a reasonable price.
He is in control of these issues and on behalf of the typical plurality
of claims of any facility. This
plurality may be of use, ownership and control. It is only in building types
involving sustained use where user's claims may be raised above casual concern
to a strong need and desire to: improve their environment; expand for
more space; and impose their norms and values. The
issue of adaptability centers on the interference
by the control person to prevent
and not facilitate these natural needs. The
tenant does not control the apartment, shop, or area he is using. He can
rearrange the أ"movables (furniture, low partitions, raised
floor, equipment, etc) which he controls but not the constructed walls,
ceilings, etc.
Metaphors, Architecture & Music
It is these limitations, constraints
and restrictions within these pluralities which are claims upon the facility. The issue is different in demand from the private personal habitat where the أ
constructs
his personal أ metaphor to the shared public
functions. The metaphor of the civic functions includes the collective
metaphor of individual metaphors and is the basis for the classic plaza,
monument and public building. Just as
the performer and the audience intuitively play out their responsibility in a concert to
complete the composer's original metaphor so the user is inclined Akbar, S. Crisis in the built
environment play a role in completing the building metaphor. The intentions of the original composer or
architect can be modified to include such future completions.
Claims adaptations interventions.
In a theater it is the way performers
everything about their performance and the scenario to the theater. The theater is intentionally
designed to receive the troupe's needed claims for scenery,
access, lighting, acoustics, sound effects, lines of vision, scale,
proportions, storage, preparation, etc.
The theater's architect's metaphor must potentiate metaphor of
performers, and through them the users'.
Ultimately the user completes the metaphor originated by the architect of
the theater and composer of the concert, play, ballet, opera etc. Even Jazz
music, modern dance and, Improvisation Theater begins with a metaphor which is then
complete, scaled and metered with interventions, insinuations and
initiatives.
Metaphors, Architecture & Music
It is the oriental who mastered
repetitive patterns which adapt well to varieties of applications and
adaptations. It is metametaphor which describes the creative context which weaves together the metaphoric dimensions of composers, performers and
audience as it does owners, managers (control) and users. The user is the second composer of the metaphor
which when incorporated into the originating composer's initial experience
reifies into inclusive rather than exclusive metaphors such inclusive
metaphors facilitate the user’s claims and potentiate his metaphor. Both composers can participate
simultaneously in the present, or be in the two times of the present and the
future. In this way the two interact
where the *Akbar, S. "Crisis in the built
environment
Where is a temporary building forming
the background for a dramatic performance; a stage setting? Composer of the
future impacts the composer of the present and vice versa. The two form a reciprocal metaphoric interaction
between their two histories, contexts and special training lesson. Everyone who has sought the environment
for the meaning, identity and significance of his or her life knows that this
information is relative
and
can be the basis for change. These
metaphors can provide the comfort of places as with all its'
negative connotations of the tenement of a typical slum.
Metaphors, Architecture & Music
Landmarks have a positive effect for users
and incarnate what a society considers its' best. As such, everyone welcomes and identifies with
its' message. Landmarks incorporate unusual
historical and aesthetic values and are therefore set aside for preservation. We preserve our landmarks for much the same
reasons as classical music: to continue to participate in the original metaphor being in that family of high quality
perceptions. This is made possible by metametaphoric phenomenon
which is perineal and receptive to all users. It is permissive and accessible and is
inherently adaptive.
In any case friendly metaphors are first born within a composer
which users may access by perception and evolvement. The
lesson for users is to be receptive, involved and perceptive. Look for أmetaphors and participate fully in their potential. Reject
those that are incompatible or which have become obsolete or irrelevant. Participate too, in أ
metaphors which are
external to your own context to receive the culture and uplift to your own
standards. Choose and decide about your metaphoric context and participate in its'
benefits.
Isn't this a major reason why, if we
can and however small, inconvenient
and expensive, we select a free
standing single family house? With all its'
functional drawbacks, for many, it still represents the best possibility for a personal
metaphor;
the selection of an old low-rent
apartment which likewise offers the opportunity for remodeling, renovation and
adaptability.
Metaphors, Architecture & Music
Even in places where this may be
restricted for a second home in the country or a cottage in a city like Leipzig,
Germany where we can metaphor with a miniature version of the
house (Schraeber Gardens) we might have had if we did not live in the
city. Mausoleums in the form of
"dream houses, villas, castles, palaces, etc." testify to this أ
metaphoric urge. Even on the other extreme if we carefully
study the dwellings of أSquatters and the urban "homeless we can see
glimpses of these same metaphors
in
the choice of location, colors, coverings, spaces, heights and
furnishings. It is not these
specifically but all of the issues discussed above that are the user's metametaphoric
phenomena of architecture and music Author's work with both groups
in "La Pearla", Puerto Rico and New York City’s South Bronx, Harlem
and Brooklyn's Bedford Stuyvesant; where phenomena is an observable
fact or event; a fact of scientific interest susceptible of scientific
description and explanation. phenomenology.
All of this work in metametaphors is a kind of study of the development
of human consciousness and self awareness as a preface to a philosophy about
art and architecture. It describes formal structures of
metaphors and the
perception of metaphors in abstraction from any claims
concerning manifest existence.
As metaphors exist we can only sense
them but they do not have physical material properties of structure material,
density, weight, dimension, velocity, etc. "Metaphors" like the
"mind" are phenomena.
It is intensively educational and
experiential.
Metaphors, Architecture & Music
- Main currents in Modern Thought
, September©October 1971,
Vol.28, No.1
The Journal of the Center of
Integrative Educationؤ
- Weiss, Paul, "أThe metaphorical processؤ" (19,10,11, 12)ئ
- Gordon, W.J.J., "Synectics: "أThe
metaphorical way of knowingؤ "(pg. 12©14).ئ
- Fez-Barringten, B., أ"Architecture, The Making of Metaphor": Notes
from a Symposium (
- "Journal of Architecture Education"
, November 1992, Vol.46,
No.2
- Published by Butterworth©Heinemann for the Association of the Collegiate Schools of Architecture,
Inc (ACSA).
- MacGilvray, Daniel F. (
- Dodds, George, "أOn the place of Architectural Speculation
- Akbar, Jamel, "أCrisis in
the built environment" (the case of the Muslim city). 1988; A Mimar
Book; Concept Media Pte Ltd/E. J. Brill Pub.
- All definitions and references to grammar and
syntax is from "
- Webster's Ninth New Collegiate Dictionary” by
Merriam-Webster Inc. Publishers
- (1991) William A. Llewellyn, President and Publishers.
- Readers are invited to avail themselves of other
works by this author about Metametaphorؤ which delve further into those items found in
italics throughout this work.
Researched Publications: Refereed and Peer-reviewed Journals: "monographs":
Barie Fez-Barringten; Associate
professor Global University
1. "Architecture the making of metaphors"
Main Currents in Modern Thought/Center for Integrative Education;
Sep.-Oct. 1971, Vol. 28 No.1, New Rochelle, New York.
2."Schools and metaphors"
Main Currents in Modern Thought/Center for Integrative Education
Sep.-Oct. 1971, Vol. 28 No.1, New Rochelle, New York.
3."User's metametaphoric phenomena of architecture and Music":
“METU” (Middle East Technical University: Ankara,
Turkey): May 1995"
Journal of the Faculty of Architecture
4."Metametaphors and Mondrian:
Neo-plasticism and its' influences in architecture" 1993 Available on Academia.edu since 2008
5. "The Metametaphor of architectural education",
North Cypress, Turkish University. December, 1997
6."Mosques and metaphors" Unpublished,1993
7."The basis of the metaphor of Arabia" Unpublished, 1994
8."The conditions of Arabia in metaphor" Unpublished, 1994
9. "The metametaphor theorem"
Architectural
Scientific Journal, Vol. No. 8; 1994 Beirut Arab University.
10. "Arabia’s metaphoric images" Unpublished, 1995
11."The context of Arabia in metaphor" Unpublished, 1995
12. "A partial metaphoric vocabulary of Arabia"
“Architecture: University of Technology in Datutop;
February 1995 Finland
13."The Aesthetics of the Arab architectural metaphor"
“International Journal for Housing Science and its applications”
Coral Gables, Florida.1993
14."Multi-dimensional metaphoric thinking"
Open House, September 1997: Vol. 22; No. 3, United
Kingdom: Newcastle uponTyne
15."Teaching the techniques of making architectural metaphors in
the twenty-first century.”
Journal of King Abdul Aziz University Engg...Sciences;
Jeddah: Code: BAR/223/0615:OCT.2.1421 H. 12TH
EDITION; VOL. I and
“Transactions” of
Cardiff University,
UK. April 2010
16. “Word
Gram #9” Permafrost: Vol.31
Summer 2009 University of Alaska Fairbanks; ISSN: 0740-7890; page 197
17. "Metaphors and Architecture."
ArchNet.org. October, 2009.at MIT
18. “Metaphor as an inference from sign”;
University of Syracuse
Journal of Enterprise Architecture;
November 2009: and nominated architect of
the year in special issue of Journal of Enterprise Architecture explaining
the unique relationship between enterprise and classic building architecture.
19.
“Framing the art vs. architecture
argument”; Brunel University (West London); BST: Vol. 9 no. 1: Body, Space & Technology Journal: Perspectives
Section
20.
“Urban Passion”: October 2010; Reconstruction
& “Creation”; June 2010; by C. Fez-Barringten; http://reconstruction.eserver.org/;
21.
“An architectural history of metaphors”:
AI & Society: (Journal of human-centered and machine intelligence) Journal
of Knowledge, Culture and Communication: Pub: Springer; London; AI &
Society located in University of Brighton, UK;
AI & Society. ISSN
(Print) 1435-5655 - ISSN (Online) 0951-5666 : Published by Springer-Verlag;; 6 May 2010 http://www.springerlink.com/content/j2632623064r5ljk/
Paper copy: AIS Vol. 26.1. Feb. 2011; Online ISSN 1435-5655; Print ISSN
0951-5666;
DOI 10.1007/s00146-010-0280-8; : Volume 26, Issue 1 (2011), Page
103.
22.
“Does Architecture Create Metaphors?; G.Malek;
Cambridge; August 8,2009
Pgs
3-12 (4/24/2010)
23.
“Imagery or Imagination”:the role of
metaphor in architecture:Ami Ran (based on Architecture:the making of
metaphors); :and Illustration:”A Metaphor of Passion”:Architecture oif Israel
82.AI;August2010pgs.83-87.
24.
“The soverign built metaphor”: monograph
converted to Power Point for presentation to Southwest Florida Chapter of the
American Institute of Architects. 2011
25.“Architecture:the making of metaphors”:The
Book;
Contract
to publish: 2011
Cambridge Scholars
Publishing
12 Back Chapman Street
Newcastle upon Tyne
NE6 2XX
United Kingdom
12 Back Chapman Street
Newcastle upon Tyne
NE6 2XX
United Kingdom
Edited by
Edward Richard Hart,
0/2 249 Bearsden Road
Glasgow
G13 1DH
UK
Lecture:
 |
| Barie Fez-Barringten's photo of the Al-Kharj desert |
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