Pulse of Place

In its center, however, the functional behavior of breathing and heart rhythm produces a balance, thereby forming an organic foundation for rhythmic-musical sensations and actions. And, at the same time, we must not forget that this three link structure of human time organism is linked and infiltrated as a whole by the cosmic proportions and harmon­ies of environmental rhythms. 

Following my obsession with music, and the psychosomatic effects both it and landscapes have on me, I have been seeking research connections between one and the other. I'm sure all of us have, at one time, either played or even purchased a 'landscape' music CD or MP3 to help us relax, wind down, and 'tranceport' us to a place where we feel connected to the powers of the natural world. I recently found a discussion forum hosted by a National Parks warden where a panel of musicians and historians discussed the inspiration they found in landscape. I posit, however, that there is an equally powerful force that begets the planners and designers of our public and private spaces. I believe deeply in the power of music to shape our world and the places we inhabit.

We can find empirical evidence of the psychosomatic effects experiencing landscape scenery has on the enhanced physical recovery of the human body and its psyche. The patterns of cerebral activity are similar to those experienced when listening to music. However, connections with either of these art forms - site/space design and music - continue to transcend verbal communication (forms of non-verbal communication); forms of communication that effect us beyond conscious thought. This may explain the proliferation of "architecture's adagio of strings" - space design with it's own inherent soundtrack - more popularly known as 'fly-throughs' or visualizations. These conceptual visions help to convey the 'pulse' intended for a particular landscape and, I believe, ultimately manifest themselves in the physical construction of each space.

More correlated with that of 12:8 time, Olmsted believed that the passive experience of "pleasurable rural scenery" was the antidote, the mitigating factor to the ailments of urban life and its harsh daily realities. While arguably more powerful than the passive activities that one might pursue in the urban environment, the activity of cities is infused with a unique allegro counter to the relaxing beats per minute of Beethoven's 'Pastorale' or Vivaldi's 'Four Seasons'. I would argue that infusing our urban spaces with the inspiration and emotive responses of music reflects a more holistic approach, or attempt at enhancing the publics connection to their environment. The corporeal responses we experience in reaction to our environment is a direct response to the manifestation of musical anthems - tempos, rhythms, repetitions, and bpm's - through visual cues.