Hossein Omoumi: A creative architect and an innovative musician

Talk at the Tribute to Dr. Hossein Omoumi

*By Ali Kiafar, PhD, REFP

January 27, 2024, University of California – Irvine

Many accolades can be given to Dr. Hossein Omoumi: about his personal qualities, characteristic values, artistic capabilities, and professional credentials which have greatly impressed and benefitted countless students and colleagues over more than fifty years. Many people, especially his students, at times have pointed out these traits. To me Dr. Omoumi epitomizes knowledge of architecture, art of music, deep passion for educating, excellence in teaching, modesty, kindness, assistance to others, gentility, compassion, and patience. He has impressed me as a person of grand status who also impacts others’ lives, and indeed does so very positively. Given the limited time I have tonight I would concentrate on the interwoven aspects of architecture and music in Hossein Omoumi’s life. To begin, I would touch on some similarities and common features of music and architecture.

Music is liquid architecture.

“Music is liquid architecture; architecture is frozen music.” That’s how Johann Wolfgang von Goethe, the 18^th century German writer and statesman, described these two subjects.

Similarities between music and architecture:

There are similar sensibilities between architecture and music that usually come to attention when both are looked at. A piece of music, classical or modern, and a house, church, bridge, or any other building may have many “similar” senses and features.

Terms such as rhythm, texture, harmony, proportion, dynamics, and articulation refer both to architecture and to music. They all are tied in some way, whether it is through buildings, or songs. Either way, the overall qualities shared between music and architecture can help inspire each other. For instance, rhythm in music is patterns of sounds in relation to a beat; repetition of elements – openings, shapes, structural bays – establish regular or irregular rhythms in architecture. Rhythm and architecture are also similar in many aspects. Rhythm has much to do with patterns which can also be found in shapes or structural elements in architecture.

Texture is a key concept of both architecture and music.

Texture in music has to do with the layering of different sounds and rhythms by different instruments. Materials in architecture can also display texture. The combination of different materials can show a wide variety of different textures and how they can interact with each other.

Architecture and music also have harmony in common.

Harmony can be from balance in a musical work, or it can also be through a balance of a part or the whole building. Architecture can show harmony through the successful use of different materials or designs, to make the place, one unified space.

Proportion relates to harmony in many ways as well.

The right proportions in music in intervals and notes can help create a harmony throughout the work. Proportions with materials in architecture also create harmony. The correct balance can harmonize an architectural setting.

Architecture and music share dynamics.

Dynamics deals with quality. Music and architecture need certain qualities and standards to make their respective works worthwhile and meaningful.

The relationship between sound and architecture.

By integrating carefully selected sounds within a space, architects can create an emotional connection with the users. Sound can be effectively used to guide individuals through space, for instance enhancing accessibility for visually impaired individuals and improving overall navigation.

In my view acoustics is a strong element in both architecture and music

The way music developed in time was strongly affected by the acoustics of the spaces that were available for playing music. For example, Johann Sebastian Bach composed organ music that suited the relatively dry acoustics of Leipzig. Joseph Hayden’s classical music suited the relatively small and upholstered hall of a palace in (Eisenstadt,) Austria. In the late 1800’s during the latter part of romantic period, orchestras grew in size when the advancement of building technology made it possible to construct larger halls for larger audience sizes. Hence the music then produced made use of the stronger late reverberation times and the acoustical properties typical to these halls. The aerial and fluid music that filled the cathedrals became much more textured and rhythmical when the size and shape of the places changed. to become something like Carnegie Hall.

What are the music notes in architecture?

By considering rhythm, proportion, melody, harmony, texture, timbre, and dynamics, architects can create not only functional but also aesthetically pleasing and environmentally conscious buildings. Like music, the interplay between these seven notes creates a unique and memorable architectural composition.

And finally: Architecture is frozen music. The building, the sound, the space we occupy the silence.

Quoting one of the most famous pioneers of modern architecture Frank Lloyd Wright this phrase reveals the relation between Music and Architecture as a dynamic one that should be considered in terms of fluidity, variability and overlaps.

Having mentioned the common features of music and architecture I must say that not everyone who goes through architecture school becomes an architect, let alone a creator of sense and sensuality in space. By the same token whoever learns how to play music does not become a musician who can compose music, create good music, especially a music with روحیه، حال  و حس sense and feelings. Similarly, not everyone who knows pattern, rhythm, or proportion in architecture is in essence an architect. Not everyone who knows those aspects in music is an artist, a musician either. They must be able to create a space filled with feelings, humanity, inspiration, interaction, and interconnection.

Fortunately, Hossein Omoumi is both: a creative architect and an innovative musician who knows and has shown over time how able he is to create spaces — physical and spiritual — that are beautiful, have haal or hess. As such, I, as someone who has known him intimately for decades, have wondered how he should be referred to? An architect musician or a musician architect?

Let’s talk about some aspects of his involvement in both fields. With respect to architecture, Omoumi was a top student at the National University of Iran; he received commendation letters form the royal court and the college of architecture itself. Later, when after getting his doctorate degree from Italy, he was teaching at our college he was respected as a good, patient academic who craved to pass on his knowledge of architecture. I personally remember vividly even then; I admired him for that. Outside the university, he was involved in a variety of architectural projects, working at and with different firms.

On the role of music in his life and his impact on music, Omoumi has not been only a performing musician on many, many occasions; he has composed great pieces of music as well. But more notably he pursued teaching as a mission in life. He is indeed a teacher par excellence. He has confided in me many times that his best working hours are those he is in the classroom; adding that “for me the appreciation of teaching is in the students’ showing they have learned from me.” I, as someone who himself started teaching when he was in the 5^th grade and never lost the love for transferring knowledge to others since – even more than almost sixty years later today — I very much relate to and associate with that feeling. I understand what he talks about.

In terms of musical performance, Dr. Omoumi has had concerts with the most notable Iranian musicians. But he has kept a low key on these involvements. When he was teaching at the university, he never boasted about being a musician, even when his performance was broadcast from the national radio in his younger years. Most people did not know him as a musician until late 1980s when he performed with the masters of Persian music M.R. Lotfi and Hossein Alizadeh. It was only then that many people realized Omoumi was both an architect and an accomplished musician.

His involvement in music goes beyond playing and reciting/vocals; it has expanded to the treasure of music repertoire by creating pish-radif, enhancement of instruments and their sound; aavaa haa— all of which reflect his passion for growing with music, making music grow, and teaching, to improve others’ life, the quality of living.

Some of his other accomplishments in music include the following: He has given lectures on the relations between architecture and music; and completed and enhanced instruments; he has done so because of his abilities as an architect who knows how to design and build. He completed the Ney’s six tetrachord key — shesh- daang — elevating the instrument from an incomplete shesh-daang.

As one of his achievements in 1986, he received a letter from Maestro Hassan Kasaaei, the most prominent Iranian Ney player, blessing Omoumi’s addition of a key to the Ney. Realizing that Ostaad Kassaei very rarely, if at all, wrote a letter of approval for anyone, meeting the maestro’s approval attests to his high regard for Omoumi, the music and explorations of his excellent disciple.

As parts of other innovations, Omoumi has tuned daf – the Persian percussion instrument; created a tuned tombak, the most played percussion instrument. As a major innovation this creation has been greeted enthusiastically by many percussionists and other musicians for whom the right tunes coming out of tombak is essential. These days many players outside of the Iran utilize the tuned instrument.

To the extent I, a very novice music lover, know, adding keys to wind instruments such as flute and clarinet is not a major undertaking; but adding a key to the instrument that one of the greatest Iranian poets, Mowlavi – or as he is known outside Iran, Rumi –, talked about passionately one thousand years ago, is a huge innovation. By doing so Omoumi in effect brought a very traditional instrument to today’s world. Ney is what Rumi talks about this way:

بشنو این نی چون شکایت می کند؛ از جدایی ها حکایت میکند

Hear out the Ney, how it detests; tells stories of separations . I should add that separation has been embedded in Iranian history, especially in the last four decades.

Hossein Omoumi knows a musical instrument is just a means, not the target, not the goal. He uses music to relay feelings, emotions – the feelings and emotions of today. So, he believes music and hence the instrument must be indicators of today – not presenting the life and feelings of the past. Thus, innovations and enhancements to achieve that goal must be considered. Instruments must play a role in bringing music into present time. I believe this conviction and sensitivity are the real impetus for his approach to and understanding of music. I equally believe that it is the reason when you listen to Omoumi’s Ney, when your soul is merged with his singing, his vocals, you are out of this world; you ascend to another universe.

But still with all his other qualities, first and foremost, Omoumi is a real teacher, a great teacher, amouzandeh. I have felt this genuine quality of his in my heart, in my daroon –inner side. Sensitivity, being sensitive to humanity, and others’ spirits and feelings, passionate consideration of others are his traits.

Without an iota of exaggeration, in my belief Hossein Omoumi is professionally an architect and a musician; and personally, a human being whose thoughts and actions are deeply intertwined with humanistic feelings. It is without any qualifications that I have been blessed with having known Dr. Omoumi initially as an assistant professor in the school of architecture, then as a musician, and over the years, especially since his moving to the US, through more close interactions, as a friend, and I dare say, now as a big brother. I genuinely know that my wife has similar feelings towards him and his so dear spouse, Sheyda jaan and their precious family. I salute Dr. Hossein Omoumi and wish him many, many more years of a good, productive life filled with continued meaningful results in the creative and impactful world he lives in.

*

Ali A Kiafar, PhD, REFP 

 

Recipient, Excellence in Teaching Award

University of California – Riverside

Recipient, Best Community Development Award

American Institute of Architects

Recipient, Architecture and City Planning Book Award 

Association of Luminaries of Architecture in Iran