Connecting To and Through Music
Music is one of the most widely spoken languages in the world. And yet, the active sharing of music usually only happens amongst comfortable friends. What social norms discourage people from introducing themselves through the language of music? How can a space encourage this kind of connection?
I sketched some spaces where music could be listened to comfortably without feeling any pressure to socially perform. Ideas for spatial features that could support this included spaces for visitors to rest as well as some sort of focally anchoring centerpiece.
Ultimately, the space which revealed itself through sketching and conversations had none of these originally conceived features.
I found that the geometry of a water lily was conducive to the feeling I was aiming for. The staggering of its petals partition the space just enough to encourage its exploration. The shape of each petal guides the eye up to the sky. Similarly so to music, the flower is an indication of life.
The curiosity to explore this space is reinforced through the responsive nature of a visitor’s footsteps. Once within the installation space, the footsteps illuminate their paths by kicking up pollen-like particles of light.
As for the large petals, I wanted them to change directly in response to the musical changes. This will allow visitors to step into the space and be surrounded music for full immersion.
The petals undergo color shift in relation to the musical pitch and tempo.
The James Turrel inspired materiality of the petals allow for a range of hue, all with an energy of comfort and healing.
I envision this space to be situated in a public location, such as a park or plaza, where it may be encountered unexpectedly. A sibling installation is to be located in another city so that the dialogue generated by the space engages in a larger ecosystem.
aerial shots in two diff. city contexts
The addition of this mirrored space not only allows for a dialogue between its visitors, but also between the spaces themselves. When a visitor illuminates their space through their footsteps, the light particles they produce are also mapped to the floor of the mirror installation. Because of this, there are “ghost” footsteps in each space. This creates a moment where these footsteps are first interpreted as randomly generated, until they begin to walk in relation to you. Given the live nature of the mirrored feedback, visitors in one city may “converse” with visitors of another through movement.
The language of movement is informed by music