PhD in Architecture. History and Project | Politecnico di Torino
A+ Lectures 2025|03 Chairs. Tables, beds and Bach. The place of the gramophone in the mordern interior|Tim Benton
Wednesday 2 April 2025| 2.30-4.00 PM Room 201 Lingotto|Recordings on YouTube
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4 thoughts on “A+ Lectures 2025|03 Chairs. Tables, beds and Bach. The place of the gramophone in the mordern interior|Tim Benton”
Anita Hamedi
I thoroughly enjoyed Tim Benton’s approach to analyzing the gramophone as more than just an object but as a cultural and design artifact embedded in modern architecture. By framing it as a symbol of intellectual identity, domestic ritual, and technological evolution, he encouraged us to look deeper into seemingly mundane elements of interiors. As a designer, this perspective is invaluable. It pushes us to consider how everyday objects shape spatial experience and reflect broader societal shifts. The contrast between Eileen Gray’s perfectly designed furniture for the gramophone and music records and Adolf Loos’ belief that not everything needs to be designed but can be bought from a craftsman highlighted how design philosophies influence functionality and aesthetics. This method could easily extend to contemporary objects, for instance, smart speakers, revealing how technology continues to redefine domestic spaces. Benton’s lecture was a compelling reminder that great design lies in the details we often overlook.
The lecture by Tim Benton was super interesting as it made me question some things that I didn’t think about before. As an enthusiast of music I appreciated learning more about the influence that it can have on architecture and how some technical aspects were handled during modernism, like the space for the gramophone in interiors that were often minimalistic and focused on functionalism. How can this large piece of furniture that was so important culturally fit in those houses? Seeing the evolution and also the solutions that some architects proposed for this problem was enlightening. This thought of “how the things that people need might create problems for architecture” can lead to a lot of discussions and debates even towards the uncertain future. As an architecture student it helped to be more aware of those questions, since every moment in time can ask for different necessities and solutions from the architects.
Tim Benton’s lecture highlighted how the introduction of sound technologies, such as the gramophone, influenced Modern Movement’s architecture, raising important questions about how these devices could be integrated into the aesthetics of contemporary domestic life. One key point was the contrast between the rationalist approach of architects like Le Corbusier and Marcel Breuer before the Second World War—who preferred to hide such devices—and the more artisanal, user-focused approach of Eileen Gray, who designed custom furniture to incorporate the gramophone into everyday living. Another key idea was the recognition that the gramophone was not merely a functional device, but a symbol of youth, freedom, and social change, as captured in photos of Bauhaus students. Also was enlightening to see how the transition from acoustic to electric sound, transformed the soundscape of the modern home, added a new sensory dimension to domestic life.
These innovations reflected a broader cultural shift in how architecture began to engage with everyday life and new technologies, a shift that still shapes our contemporary vision of the modern home, and still challenges us today regarding the relationship between technology, design, and spatial research.
The lecture felt like a storytelling of music in architecture emphasizing the intersection of functionalism and music, shedding light on how even within minimalist, function-driven design, music found a place in domestic life. Le Corbusier’s evolving definitions of a house as a machine for living, a snail’s shell, and something spiritual highlights the layers beyond architecture’s physicality. Devices like the gramophone and radio posed spatial challenges for modern architects, yet became essential parts of interior life, symbolizing not just entertainment, but freedom, youth, and identity.The mikiphone, the world’s first pocket phonograph, marked a turning point by merging portability with the cultural significance of music, reflecting how technology influenced spatial and architectural considerations.Overall, the session offered an insightful look into how music, through its instruments, shaped and was shaped by architectural space, making it a vital yet often overlooked layer of modern living.
I thoroughly enjoyed Tim Benton’s approach to analyzing the gramophone as more than just an object but as a cultural and design artifact embedded in modern architecture. By framing it as a symbol of intellectual identity, domestic ritual, and technological evolution, he encouraged us to look deeper into seemingly mundane elements of interiors. As a designer, this perspective is invaluable. It pushes us to consider how everyday objects shape spatial experience and reflect broader societal shifts. The contrast between Eileen Gray’s perfectly designed furniture for the gramophone and music records and Adolf Loos’ belief that not everything needs to be designed but can be bought from a craftsman highlighted how design philosophies influence functionality and aesthetics. This method could easily extend to contemporary objects, for instance, smart speakers, revealing how technology continues to redefine domestic spaces. Benton’s lecture was a compelling reminder that great design lies in the details we often overlook.
The lecture by Tim Benton was super interesting as it made me question some things that I didn’t think about before. As an enthusiast of music I appreciated learning more about the influence that it can have on architecture and how some technical aspects were handled during modernism, like the space for the gramophone in interiors that were often minimalistic and focused on functionalism. How can this large piece of furniture that was so important culturally fit in those houses? Seeing the evolution and also the solutions that some architects proposed for this problem was enlightening. This thought of “how the things that people need might create problems for architecture” can lead to a lot of discussions and debates even towards the uncertain future. As an architecture student it helped to be more aware of those questions, since every moment in time can ask for different necessities and solutions from the architects.
Tim Benton’s lecture highlighted how the introduction of sound technologies, such as the gramophone, influenced Modern Movement’s architecture, raising important questions about how these devices could be integrated into the aesthetics of contemporary domestic life. One key point was the contrast between the rationalist approach of architects like Le Corbusier and Marcel Breuer before the Second World War—who preferred to hide such devices—and the more artisanal, user-focused approach of Eileen Gray, who designed custom furniture to incorporate the gramophone into everyday living. Another key idea was the recognition that the gramophone was not merely a functional device, but a symbol of youth, freedom, and social change, as captured in photos of Bauhaus students. Also was enlightening to see how the transition from acoustic to electric sound, transformed the soundscape of the modern home, added a new sensory dimension to domestic life.
These innovations reflected a broader cultural shift in how architecture began to engage with everyday life and new technologies, a shift that still shapes our contemporary vision of the modern home, and still challenges us today regarding the relationship between technology, design, and spatial research.
The lecture felt like a storytelling of music in architecture emphasizing the intersection of functionalism and music, shedding light on how even within minimalist, function-driven design, music found a place in domestic life. Le Corbusier’s evolving definitions of a house as a machine for living, a snail’s shell, and something spiritual highlights the layers beyond architecture’s physicality. Devices like the gramophone and radio posed spatial challenges for modern architects, yet became essential parts of interior life, symbolizing not just entertainment, but freedom, youth, and identity.The mikiphone, the world’s first pocket phonograph, marked a turning point by merging portability with the cultural significance of music, reflecting how technology influenced spatial and architectural considerations.Overall, the session offered an insightful look into how music, through its instruments, shaped and was shaped by architectural space, making it a vital yet often overlooked layer of modern living.