Interaction with post-rock/ambient film and architecture
Text: mmr｜Theme: Post Rock/Ambient and movies/architecture
The evolution of post-rock/ambient is not limited to just a musical genre, but has an affinity with spatial art such as film, architecture, and urban planning. In addition to historical masterpieces, we will also organize interactions with movies and architecture, as well as ambient experiences in urban spaces.
Interaction with movies
Ambient/post-rock has had a great influence on film music, and has become established as a method of manipulating the audience’s sense of time and spatial experience.
| Movies | Music | Year | Features |
|---|---|---|---|
| Arrival | Jóhann Jóhannsson | 2016 | Expressing the sense of time circulation with drone-like sounds |
| Blade Runner 2049 | Hans Zimmer & Benjamin Wallfisch | 2017 | Ambient depiction of the coldness and expanse of a futuristic city |
| The Revenant | Ryuichi Sakamoto & Alva Noto | 2015 | Expressing the pressure of nature and time with electronic and environmental sounds |
| Solaris (2002 edition) | Eduard Artemyev | 2002 | Expanding psychological space with cosmic ambient |
| There Will Be Blood | Jonny Greenwood | 2007 | Post-classical + noise creates tension and loneliness |
Points
- Post-rock technique: Extend psychological time with a loop structure that repeats guitar and piano
- Ambient method: Expand the sense of space with sustained sounds and drones
Connection with architecture and urban planning
Ambient/post-rock shows a strong presence in dialogue with urban spaces and architecture.
| Location/Project | Music/Sound | Year | Features |
|---|---|---|---|
| The Blur Building | Brian Eno (Sound Design) | 2002 | Merging water mist architecture and soundscape |
| Fondation Louis Vuitton | Brian Eno (Exhibition Sound) | 2014 | Ambient sound that matches the flow of the exhibition space |
| High Line Park, NYC | Various ambient compositions | 2009 | Walking experience with continuous sounds in urban space |
| Tate Modern Turbine Hall | Various sound installations | 2000s | Drone sound and audience experience expansion in a huge space |
| Oculus, NYC | Sound installation by Steve Reich / La Monte Young influence | 2016 | Integrating architectural reverb and urban acoustic design |
Points
- The themes of the urban space are “extension of time” and “fusion with environmental sounds”
- In architecture, it is possible to design by calculating the volume, reflection, and movement of sound.
- Music functions as an experience of the entire space, rather than just listening to it alone.
Relationship matrix between movies, architecture, and music
Music → Film: Music manipulates psychological space and sense of time.
Music → Architecture: Music designs spatial experiences
Film ↔ Architecture: Interaction between visual art and spatial design
Representative movies and sound samples
Arrival (2016)
- Composer: Jóhann Jóhannsson
- Features: Expresses the sense of time circulation with drone-like sound
- Sound Sample: First Encounter
Blade Runner 2049 (2017)
- Composer: Hans Zimmer & Benjamin Wallfisch
- Features: Ambient depiction of the coldness and expanse of a futuristic city
- Sound Sample: Tears in the Rain
The Revenant (2015)
- Composer: Ryuichi Sakamoto & Alva Noto
- Features: Expressing the pressure of nature and time with electronic sounds and environmental sounds
- Sound Sample: Main Theme
Solaris (2002)
- Composer: Cliff Martinez
- Features: Expand your psychological space with cosmic ambient
- Sound Sample: Is That What Everybody Wants
There Will Be Blood (2007)
- Composer: Jonny Greenwood
- Features: Post-classical + noise creates a sense of tension and loneliness
- Sound Sample: Full OST
Connection with architecture and urban planning
Ambient/post-rock has a strong presence in dialogue with urban spaces and architecture.
Typical locations and acoustic experiences
The High Line, NYC
- Features: Walking experience with continuous sounds in urban space
- Sound Sample: High Line Rain Walk
Tate Modern Turbine Hall, London
- Features: Expansion of drone sound and audience experience in huge spaces
- Sound Sample: Mire Lee: Open Wound
Oculus, NYC
-
Feature: Integration of architectural reverb and urban acoustic design
-
Sound Sample: NYC Noise Machine
Summary
Post-rock/ambient is not just a music genre, but has evolved as a method of designing time and space.
Psychological expansion in film: Manipulating time with drones, loops, and soundscapes
Applications in architecture and urban planning: the experience of staying in a space, walking lines, and harmony with urban environmental sounds
In the future, the fusion of VR/AR and AI-generated music will further evolve the immersive spatial music experience.
Related columns
[Column] History of post-rock/ambient and changes in equipment [discussion by era]
[[Column] What is ambient music? A philosophy of “sounds that exist” rather than sounds that are heard] (https://monumental-movement.jp/Column-Ambient)
[Column] Ambient: From “listening music” to “feeling music” II
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