Thesis. 1979. M.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaf 31. / M.S.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

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Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 36).

Thesis (Ph. D.)--University of California, San Diego, 2010. / Title from 1st page of PDF file (viewed July 8, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: Leaves 147-154.

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This dissertation examines the history of the relationship between light/color as an artistic medium and music. Looking at four artist-inventors from the eighteenth through to the mid-twentieth centuries, I consider how new arts of light and color arose from music, relied on music, and also distanced themselves from it. Drawing chiefly on published and unpublished primary sources, this dissertation compares artists’ and inventors’ conceptions of what this new art should be as it was continuously reimagined and reconstituted in their works, discourses, and technologies. I suggest a running tension throughout this history between the aspiration for a new and even autonomous art and its reliance on the music. In Chapter 1, I investigate the work of the eighteenth-century French Jesuit monk Louis Bertrand Castel, who in 1725 proposed the first ever instrument for color music, his clavecin oculaire or ocular harpsichord. I note conflicting tendencies in his thought as he suggested two different avenues for color music: as a form of multimedia, and as a separate, silent medium capable of giving pleasure on its own. The next chapter turns to the color organ and color music of the late nineteenth-century inventor and artist Alexander Wallace Rimington. Drawing on contemporaneous theories of color, reception of Rimington’s performances, and the inventor’s own writings, I locate Rimington’s organ at the intersection of a continuing tradition of analogizing music and color and late nineteenth-century attempts to theorize color independently and systematically. I then demonstrate how Rimington’s desire to use color music as means of improving color perception can be understood as part of a larger debates about sensing color and color education around the turn of the twentieth century. Chapters 3 considers Mary Hallock Greenewalt’s instrument, the sarabet, and her art form, nourathar¸ while the final chapter looks at Thomas Wilfred’s (usually silent) light art, lumia. I suggest that Greenewalt and Wilfred’s relationship to music is a source of tension in their work, as they attempted to extricate and purify light art into an autonomous art form but display various forms of musical influence.

Thesis focuses on designing concert hall in the city of Brno in a district called Brno-město. The main space is the concert hall with 540 seats. The aim was to design a representative building which fulfills all requirements for this typographic public building and where the linkage of beauty and functionality is undeniable a part of the proposal.The proposal is trying to connect architecture with music together. This was achieved by designing dynamic façade with segments which are rhythmically in a movement. The character of the concert hall is stressed by artwork by Alexander Caldera at the main entrance. The emphasis has been put on preserving conceptual idea in the final design since the beginning.