In a white stuccoed living room, vinyl crackles through hand-me-down speakers with grille cloths made of hand-stitched white lattice; in a shop, tinny Top 40 tunes sputter from a ceiling PA that irrigates the fluorescent shelves of groceries below; in a bar, a karaoke machine with artificial reverb feeds back and pierces the ears of drunken comrades; walking down the sidewalk, a vehicle with sonorous subwoofers bleeds sound into the street like distant thunder; in a basement, tottering youths find strength in community and purgatorial noise; one note, one perfect fermata, belted into a microphone and bounding over the ears of a frenzied stadium crowd before dissipating into the moonless air, never to return, despite the thousands of outstretched hands holding smartphone screens foolishly trying to preserve the moment.
Music, like water, is a boundless liquid that assumes the shape of whatever container holds it. Pare architecture down to its essentials and that’s what you’ll be left with—a declared parameter and the contents within it. The same is true for music journalism, which revolves around the attractive examination of intention and execution that I’ve been doing for over five years. Before I started writing for ARCADE, I aspired to write about music because I found the prospect of translating musical experience into the written word to be thrillingly paradoxical. It didn’t take long to feel frustrated, hemmed in by this process. There are only so many chords and only so many ways to describe those chords.
It wasn’t until I was introduced to architectural theory, through my conversation with Telehealth’s Alex Barr which was published in ARCADE’s 2024 summer quarterly, that something clicked. Architects like him look at the world in dimensions, scrutinizing elements in relation to one another. This process doesn’t have to be a cold one; it’s as much a product borne of personal experience and subjective taste as music and writing. I realized that by writing about and exploring multiple aspects of art and design, I can weave a golden thread connecting these mediums of expression.
This thread isn’t pristine, thank god. It has knots and tangles, blurring the subdivisions. For example: you are now reading a writer and musician’s introduction to an architecture student’s writing about an architect and musician who made musical architecture. In the following essay, you’ll learn much more about these intersections. Jackeline Serafin highlights Chris Kallmyer’s “Furniture Music” project which turns the home into a chorus, and through Serafin’s explanation you will learn about Kallmyer’s unique approach to the construction of our experience of music, as well as the significance behind it. A magazine is an album is a concert hall; a page break is a quarter rest is a doorway. What joy there is, to discover what is embedded in the in-between.
Music and architecture, while often considered separate realms, are deeply interconnected in their capacity to shape human experience. This connection becomes particularly apparent in the work of Chris Kallmyer, an innovative artist known for his exploration of "Furniture Music." Kallmyer's work serves as a profound example of how music can influence and redefine architectural spaces, creating immersive experiences that push beyond traditional boundaries. This essay examines the symbiotic relationship between music and architecture through Kallmyer’s unique approach, shedding light on how these art forms can merge to forge new sensory and spatial experiences.
Chris Kallmyer’s artistic endeavors integrate music, sound, and spatial design in novel ways. His project, Furniture Music, delves into the interaction between music and physical spaces, altering perception and experience. Drawing inspiration from Erik Satie’s notion of "furniture music," which referred to background music designed to blend seamlessly with everyday life as unobtrusively as furniture, Kallmyer extends this concept into architectural contexts. Originally, Satie’s idea was about creating music that enhanced environments without overwhelming them. Kallmyer’s interpretation takes this further by crafting soundscapes that interact dynamically with specific architectural settings, influencing how people perceive and experience these spaces. The relationship between music and architecture is fundamentally rooted in their shared ability to shape human perception. Both disciplines engage with spatial dimensions—architecture through physical structures and music through temporal sequences. Kallmyer’s Furniture Music exemplifies this intersection, demonstrating how sound can transform spatial dynamics and how architectural spaces can shape the experience of music.
Music affects our perception of space in numerous ways. For example, the acoustics of a room—the way sound reverberates or dissipates—can significantly alter our experience of that environment. Conversely, the physical characteristics of a space, including its size, shape, and materials, can influence how music is heard and felt within it. Kallmyer’s work illustrates this interplay by creating compositions tailored to specific architectural environments. This means his music might be crafted to enhance the acoustics of a room or resonate with the material qualities of a space. For instance, a composition could be designed to highlight the natural reverberation of a vaulted ceiling, or to complement the acoustic properties of a minimalist modernist room. Through such integration, music transcends its traditional role as merely an auditory experience, becoming an integral part of the spatial environment.
In a recent interview, Kallmyer explained how his approach to Furniture Music aims to blend music with architecture in a manner that enriches both. He considers the dimensions, materials, and intended use of a space when composing music. Collaboration with architects and designers is crucial to ensure that the music complements the architectural intent. For example, in a contemporary gallery project, Kallmyer might create a piece that accentuates the gallery’s openness and clean lines, aligning the music with the gallery’s visual and spatial qualities to enhance the overall aesthetic experience.
One notable project by Kallmyer involved an immersive sound installation in a public space. This project required him to consider how sound would interact with various materials and spatial configurations within the environment. Kallmyer designed a composition that adapted to different acoustic environments, creating a dynamic auditory experience that evolved as people moved through the space. This project exemplifies how music can be an integral element of architectural design, interacting with and enhancing the physical environment rather than merely existing as background noise.
The theoretical framework for understanding the connection between music and architecture encompasses aesthetics, phenomenology, and spatial theory. Aesthetic theories highlight the sensory experiences offered by both music and architecture. Music provides a temporal experience through rhythm, melody, and harmony, while architecture offers a spatial experience through form, scale, and materiality. Phenomenological approaches focus on how individuals experience and perceive spaces and sounds. From this perspective, both music and architecture contribute to meaningful experiences by engaging the human senses. Kallmyer’s work aligns with phenomenological approaches by designing soundscapes meant to be experienced in specific architectural contexts, thus creating a more nuanced and immersive experience. Spatial theory examines how physical spaces influence human behavior and perception. In this context, Kallmyer’s Furniture Music can be seen as a method of manipulating spatial perception through sound. By creating music that responds to the architectural characteristics of a space, Kallmyer demonstrates how sound can alter our experience of spatial dimensions and vice versa.
The practical implications of integrating music and architecture are significant for both fields. Architects and designers can benefit from collaborating with musicians like Kallmyer to develop innovative design solutions that enhance the sensory experience of a space. This approach is applicable across various settings, including public spaces, commercial environments, and private residences. For musicians and sound artists, working within architectural contexts offers opportunities to explore new dimensions of sound and its interaction with physical environments. It opens possibilities for creating site-specific compositions deeply connected to their surroundings. Looking forward, the relationship between music and architecture is poised to become even more integrated with advancements in technology. Innovations in sound technology and spatial design may lead to new ways of blending music with architectural environments. Interactive sound installations, responsive soundscapes, and immersive environments are just a few examples of how this relationship might evolve.
Chris Kallmyer’s work serves as a powerful source of inspiration for architecture students by showcasing the innovative ways music can influence and enhance architectural design. His exploration of Furniture Music demonstrates how sound can transform and interact with physical spaces. Kallmyer’s approach highlights the potential for architecture to transcend visual and spatial elements by incorporating auditory dimensions. For students, Kallmyer’s work is a compelling example of how interdisciplinary collaboration can lead to groundbreaking design solutions. By designing soundscapes that respond to the unique acoustics and spatial characteristics of various environments, Kallmyer shows how music can become an integral part of architectural design rather than a separate element. This integration encourages students to think beyond traditional boundaries and consider how different sensory experiences can be woven into their designs. Moreover, Kallmyer’s projects emphasize the importance of creating dynamic and responsive environments, aligning with contemporary trends towards more immersive and experiential architecture. His work illustrates that architecture is not solely about creating visually appealing structures but also about crafting spaces that engage multiple senses and offer enriched experiences. Kallmyer’s innovative approach invites young architects to explore new dimensions of design and consider how sound, in harmony with spatial form, can enhance the functionality and emotional impact of their work.
Chris Kallmyer’s exploration of Furniture Music exemplifies the profound intersection of music and architecture. By integrating music with architectural spaces, Kallmyer demonstrates how these disciplines can inform and enhance one another, highlighting the importance of considering both auditory and spatial dimensions in design. As we continue to explore this interdisciplinary dialogue, Kallmyer’s innovative approach serves as a reminder of the significant impact that sound can have on our experience of space, and how space can in turn shape our experience of sound. The future of this relationship holds exciting potential for creating immersive and dynamic environments that engage our senses in new and meaningful ways.
