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Music: Your brain's conductor! 🎵 🧠 Watch to discover how different tunes orchestrate our moods and energy. How do you use music in your architectural designs? #ArchitecturalAcoustics #DesignPsychology #LuxuryHomeInteriors #KevinMarioDSouza #SoundAndAbout

Built for the future, inspired by family-oriented communities. Our latest multiplex designs aren’t just about structures, they’re about creating spaces that connect and amplify everyday life. We shape living experiences that reflect the heart of every community by enhancing the fabric of every home. #architecturedesign #art #architecturelovers #design #homedesign #housing #multiplex #pdda #pddavancity #pinnacledecisiondesign #projectmanagement #projectmanagement #greenbuilding #sustainabledesign #reelsinstagram #newconstruction #realestatedevelopment #sustainability #reels #aesthetic #victoriabccanada #victoriabclife Disclaimer: The music used in this post is not owned by PDDA. All rights belong to the original artist(s) and copyright holder(s). This music is used under license, and no copyright infringement is intended. (c) Minh Ta

🔥 Liquid Architecture is thrilled to welcome Hayden Ryan as our inaugural Artist in Residence on Staff, a new initiative designed to support sound artists in creating new works, experimenting with their creative process, and developing ideas—all while receiving a salaried income. This bi-annual program aims to provide financial stability for artists as they focus on their practice, fostering innovation and creative exploration. By prioritising artist support, this initiative aspires to strengthen the broader artistic community, offering opportunities that merge some form of income security with artistic freedom. Hayden Ryan is a Yuin First Nations sound scholar and artist from the SE coast of NSW, currently based in Naarm. His work is deeply rooted in Indigenous knowledge systems, exploring the inextricable connections between land, body, sound, and culture. Through his practice, Hayden seeks to re-centre these relationships, disrupted by the colonial project, using sound technologies to revitalise Indigenous sonic and spatial traditions. Hayden holds a Master of Music in Music Technology from New York University, where his thesis, Indigenising Sound Recording, examined the colonial histories and extractive practices embedded in audio technologies. His research challenges these foundations, striving for new ways to approach sound that respect and uphold Indigenous epistemologies. Currently, Hayden is a Vice-Chancellor’s Indigenous Pre-Doctoral Research Fellow at RMIT University, where he is pursuing a PhD in Design through the SIAL Sound Studios. His research focuses on the vital role of cultural space, aiming to develop a framework that foregrounds sonic and spatial elements of culture in the protection of land and heritage. Hayden has been awarded the Helsinki International Artist Programme (HIAP) in Finland as a resident artist in August 2025. This opportunity will allow him to further expand his exploration of sound, space, and culture on an international stage.

Music is liquid architecture; Architecture is frozen music. — Johann Wolfgang von Goethe - This quote suggests a profound connection between music and architecture, two seemingly distinct art forms. Music is described as ‘liquid architecture,’ implying that it is a kind of structure or form, but one that is fluid and ever-changing. It flows through time, never static, constantly evolving and adapting. Every note, every rhythm, every melody is like a building block that constructs a unique sonic edifice, which can stir emotions and create a sense of space and movement in our minds. Conversely, architecture is described as ‘frozen music,’ suggesting that it is a kind of music that has been solidified or made tangible. Buildings and structures, though static and unchanging, embody a certain rhythm and harmony in their design. The way spaces are arranged, how buildings rise and fall, the interplay of light and shadow, all these elements create a visual symphony that can evoke feelings and moods, much like a piece of music. - Mari Samuelsen - Deutsche Grammophon To me, Song for Octave welcomes you into a different world. A dreamland in slow motion. I imagine being a child and walking in a glass house for the very first time, watching the rays of sunshine coming through the leaves of a big tree. It's a quiet and peaceful conversation between light and shadow. (Pure and beautiful).‘ – ‪@samuelsenofficial‬ https://lnkd.in/d3NgFr6s #architecture #music #Goethe

Sometimes I write about interrelations between music, architecture and the city, sometimes that resulted in teaching projects (Klang + Raum, TH Nürnberg). On my blog Architecturewriter I currently feature "Lost Angeles: Slayer's Hell Urbanism". Its premise is: "The music, lyrics and visuals created by bands can be indicative of the urban life their members experience. Their work can be seen as a form of dialogue between the music cultures they participate in and the urban spaces they inhabit. This dialogue establishes an interrelation between the musician's city of reality and the music's city of imagination. Perceived this way, music becomes a medium of alternative visions of the city or audible utopias and dystopias. The question this perception raises is: What kind of imaginary city do musicians envision and what does it tell us about the city of reality? And, eventually, how can such complex band-place-interrelations contribute to current urban planning debates?"

This is my regular newsletter on Substack. Today, I discuss the concept of the melody of design, where good designs are compared to good melodies.

What if you have a great idea...but despite it being brilliant, it's not the best experience for your customers? Or what if it actually SCARES your customers? What do you DO? Well, that happened in new buildings across the world in the 1930s, it still happens now, and the answer might not be what you'd expect... As soon as buildings got taller than a few floors, we needed elevators (or, if you're British, lifts). But early elevators were less than half the speed of today’s express lifts and, as buildings got taller and taller, elevator rides got longer and longer. By the 1930s, when the first skyscrapers were opened, people were getting anxiety attacks because as they ascended, they could feel the building sway, they could hear the clanking noises of the machinery...and they had plenty of time shut in the small enclosed elevator for their worries to take hold! At the same time, elevator operators were replaced by a simple push-button panel, and so you may well be in there on your own...which only exacerbated the problem. There was no instant solution, so the answer? Distraction! Mirrors appeared in lifts, so now you could check your appearance before arriving at your floor, taming wind-blown hair and reapplying lippy. Carpeting to the lower walls deadened the sound and made the elevator feel more solid and luxurious. Walnut veneers, light-up buttons and shiny chrome details added to the luxe vibe, all making you feel safer. But the ultimate in distraction was music. One of the earliest known installations of elevator music was in Chicago's 37-storey Palmolive Building in 1948 but, as a corporate office building, it was not open to the general public. The Statler in Dallas was the first hotel in the world to use elevator music to convey guests to its 1001 ensuite rooms in total luxury. The hotel had a helipad on the roof, a 21" Westinghouse TV in each room and cost $16M...that's around $190M at today's value! Today, you can still stay at The Statler...or you can even live there, as much of the building is now apartments. Disappointingly though, they don't seem to have elevator music these days! But next time you get in a lift/elevator and you - almost without thinking - check your hair in the mirror, notice how bright and shiny it is in there...and maybe there's even music for you to listen to...think about that. It's all there because the building management wants you to arrive at your chosen floor without even really noticing your journey there. One final bit of distraction technique that makes me laugh out loud every time - the weight capacity plate in the lift at the old Hospital Club in Covent Garden (before it closed in 2020). "Capacity 9 persons, 1000KG or 1 horse 5,050 bananas 6,666 hen's eggs 2,941 pigeons 88 haddock 10,526 pound coins". PS DON'T FORGET TO WATCH THE VIDEO, BELOW! Curio Collection by Hilton, Otis Elevator Co.

More #BTS for Alone in the Darkness. Some really interesting insights into the design process! https://lnkd.in/gQtg8FEb #siamesmusic #makeoriginals #makevisual #musicvideo #design

Wear #GNHearing Resound #Nexia family for better #sound, design & #connectivity. #Call us @8750521155, 9711020805 to #book your #appointment today. #hearingsolutions #hearingloss #hearinglossawareness #hearinglossprevention #hearingaidaccessories #hearingaidbatteries #hearingaidtips #hearingaidtechnology #hearingaidcosts #customhearingaid #hearingaidrepair

Vinyl Revival – Luxury Turntables and the Audiophile’s Obsession In an era of streaming playlists and algorithm-curated tunes, vinyl records have pulled off an unlikely renaissance. Nostalgia? Certainly. But the renewed love for vinyl goes beyond sentimentality. For true audiophiles, it’s about chasing that warm, full-bodied sound that no digital file can replicate. And when it comes to playing those precious LPs, nothing short of a high-end turntable will do. Enter the world of TechDAS, McIntosh, and Linn—brands that have transformed turntable design into an art form, combining exquisite craftsmanship, cutting-edge technology, and opulent aesthetics. https://lnkd.in/erk9JYMU #TechDAS, Linn Products Ltd, McIntosh Laboratory, Inc.