UNIVERSITY OF KHARTOUM

FACULTY OF ARCHITECTURE
DEPARTMENT OF ARCHITECTURAL DESIGN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT

U NDER THE
RELATIONSHIP BETWEEN MUSIC &
ARCHITECTURE
(ABSTRACT VIEW)
PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN

 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT 1
Introduction :
Music and architecture are similar in the way that they are the only arts that surround you all. Just like music, architecture has this ability that music has to surround you all and to take you through dierent sen-
sations, a piece of architecture makes you experience a series of emotions; it puts you in a journey. Architecture is frozen music. Really there is something in this; the tone of mind produced by architecture approaches the eect of
music. - said J.W. von Goethe.
Architecture could be frozen music since architecture generates a journey in time, just as music does. Although architecture also generates a journey in the space that it creates. Architecture contrasts with musics volatile
component as well, for the former has to be materialized (built) in order to be experienced, and remains through time. Music, on the other hand is as ephemeral as a musical note lasts

Abstract: Objectives of the project :

Dierent art branches meet in many elds. Words &sentences A-Designer
The project is about there are big similarties between the music
of art are similar as regards harmonic elements, unity & rhythm. this B-User
C- Architectural work and architecture in so dirent aspects such as : .
study will focus on those elds which make the architecture meets the
music arts, and how each art is aecting the others.
There has been a tremendous development in architectural con- If we recognize the literal meaning of architecture, we will nd that, the Arch Form Phrase Theme
cepts. In the past, we had obtained a complete symphony through the same emotion case as in music- aect a person who uses his talents to- Balance Function Pitch Transparency
architectural works. Presently, we invent exible, dynamic architectural Also architecture couldnt be built if it wasnt for its notation Colour Genre Process Unity
models by integrating music wave frequencies using computer simula- means [construction documents]. This form of notation creates a spe- Composition Harmony Proportion Volume
tion programs orby de-constructing forms into free separate pixels. cial language that architects and builders share in order to make archi- Contrast Height Repetition
First of all, let us explain that the art of music shows an interac- tecture possible. In music, a similar condition happens. Music needs Density Line Rhythm
tion between the taste and sensitive aections of both the composer both composer and performer to understand this specic language Depth Minimalism Sequence
and the listener. [music notation] in order for music to exist. Development Movement Space
Dynamics Ornamentation Structure
Denitions: Project Theme : TECTONICS Energy Pattern Style
Flow Symbol
M
` usic can be dened as: an emotion case aecting one per- Methodology: Texture
son who uses his talent to translate it to a musical art. Rhythm in music is patterns of sounds in relation to a beat; repeti-
Art of music consists of: A review of literatures supporting or critiquing this method of ap-
proach is examined.Also the transmission of the music into graphes tion of elements - openings, shapes, structural bays- establish regular
and the graphes are turned into architectural elemnts such as edges , or irregular rhythm in architecture.
A- Composer: is a person who produces a valuable work as specied by-
his sense, type of dominating emotion and his natural talent. voulmes, clusters,open spaces and axis is used.
Musical texture refers to layers of sounds and rhythms produced by
dierent instruments. Architectural texture appears in dierent ma-
B- Listener: is a person who listens to the musical work and receives the terials.
composers message. Each listener has a dierent aural sense, thus the The approch of the project :
sound tone, its purity, its instrument type and the musical hall Harmony is balance of sound or composition and balance of parts
`The project will focus on : together.
C- Musical work: is a sonic existence that comes out through a singlein- 1. Creativity using music notes .
strument or more. It contains melodies and wave frequencies carrying 2. Technology and graphics. Proportion is relationship between parts; in music it is distance be-
thecomposers sentimental feelings. This work contains a mixture 3.The outcome od the project . tween notes or intervals.
relating to rhythm, harmony, unity and variety. 4. Applying this theme on every aspects of art such as archi-
tecture ,painting and photography . Dynamics is the quality of action in music or in a buildings facade or
The comparison between architecture & music will reveal that, the ar- mass
chitectural design process has the same components & elements, which
areconsisting of: Key words :
Music, architecture , elements, bach , axis ,clusters, volumes, notations ,graphes, abda

The fundamental phenomenon of sound is its development in time. Architecture is basically static; time is introduced through changes in daylight, periods of dierent intensity of noise and above all, through the movement of people.
Sound-architecture is in its essence an event of temporal development. Space is developed gradually in time. But it is not a space, it is a constant sequence of spaces.
B e r nard Leitner (SOUND:SPACE)
 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT
INTERNATIONANAL EXAMPLES
Example One : Example Two :
Philips Pavilion, 1958 Busan Opera House in South Korea
Le Corbusier; Iannis Xenakis Christoph Klemmt
A direct physical representation of a musical composition he cre-
The pavilion is a cluster of nine hyperbolic paraboloid in which music, Ed- ated for the piano is basically music, frozen in physical space.
gar Varses Pome lectronique, was spatialized by sound projectionists using The design is based on a simple strip morphology instead of a twelve
telephone dials tone row, which creates the facade, structure and rhythm within itself,
its repetition happening in space instead of time. Layers of the strips
form the faade structure, and the shifting and alteration of these pat-
terns results in the formation of complex architectural rhythms used to
control the light, view and shading properties of the faade
2
Example Three :
Experience Music Project, Seattle,
Washington,U.S.A
Frank O. Gehry & Associates, Inc.
The forms were created in tremindous harmony as an
orcestra played by several instruments. The outer surfaces
reect music symphony played throurh specic organization
of the architectural elements as in musical note.
The design explained an individual experience for
each user by walking into the museum spaces,listening and
learning each instrument seprateley, watching its historical

The same characteristics that please the eye also please the ear. Musical terms such as rhythm, texture, harmony, proportion, dynamics, and articulation refer both to architecture and to music.
Renaissance architect Leon Battista Alberti
 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT 3
T H E P R O J E C T
This models is a rst intent to express in a rather abstract composition the life of musical notes with their high and low pitches, early and late sounds, sounds
that live and suddenly die into the water of the models site, and in between transparent elements that join each note smoothly, turning them into a melody
STAGE A( exploration stage )

ABSTRACT MODEL 1:

STAGE A( exploration stage )

ABSTRACT MODEL 2:

After analysing the relationship between music and architectural elements such as surfuces ,edges and volumes bach music wew chosen to do the transmission
from music into graphes into architectural designs

STAGE B
MUSICAL NOTE 1 :
JOHAN SEBASTIAN BACH:
FIRST MOVEMENT ALLERGO

STAGE B
MUSICAL NOTE 2 :
JOHAN SEBASTIAN BACH:
CELLO SUITE NO 1
PRELUDE

Architecture is frozen music. Really there is something in this; the tone of mind produced by architecture approaches the eect of music. - said J.W. von Goethe.
 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT 4
T H E P R O J E C T
STAGE C (TRANSMISSION STAGE) MUSICAL NOTE 1 JOHAN SEBASTIAN BACH: FIRST MOVEMENT ALLERGO
Objectives of the project :

The project is about there are big similarties between the music and architecture in so dirent aspects such as : .
Arch
Balance
Colour
Composition The project concentrates on the highlighted relationships between
Contrast music and architecture because they are the most important ones .
Density
Depth THE TRANSMISSION STAGE 1 :
Development
Dynamics
Energy The project use the architectural elements such as :
Flow 1. Edges
Form
Function 2. Surfaces
Genre
Harmony 3. Volumes
Height
Line 4.Clusters
Minimalism
Movement 5.Open spaces S T A G E C-1 STAGE C-2
Ornamentation
Pattern
Phrase 6. Axis
Pitch
Process
Proportion As we can see through the stages starting from stage c-1 till c-4 there are
Repetition four abstract models showes the movement of the architectural elements de-
Rhythm pends on the musical note sound graph (see the video for more information ).
Sequence
Space
Structure
Style
Symbol
Texture
Theme
Transparency
Unity
Volume STAGE C-3 STAGE C-4
What is music? Music has to do with an enormous discipline.To play an instrument, to read music, to perform music, requires a discipline. This is one of the connecting links between music and architecture, because both are extremely
rigorous engagements. You cannot play music approximately, unless youre just playing around; if you really want to play a melody, you have to hit every note correctly, and every tempo and every harmony has to be there in order to be
audible. And I think that is true of achitecture: you cannot really do architecture approximately, you have to do it exactly. And what ties them together in my own experience is the element of time and the element of mathematics. Both
of them really are very exact disciplines, they are very precise, they are both drawn in a certain way, and the drawings, whether they are scores in music or architectural drawings, connect the music
D a n i e l L i b e s k i n d , A rc h i t e c t
 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT 5

T H E P R O J E C T

STAGE C (TRANSMISSION STAGE) MUSICAL NOTE 1 JOHAN SEBASTIAN BACH: FIRST MOVEMENT ALLERGO

THE TRANSMISSION STAGE 2:

Here on this stage the models above were converted into volumes to give the sence of the 3d elemt and architecture better .. Also the project on this stage concen-
trates on the relationships between the open and closed spaces as well as the cluster and axis using the vertical and horizontal elements and also the repetion of them
.All those transmissions of the project according to the musical note sound or graph. (see the video for mor information ).

F I N A L M O D E L

STAGE C-5 STAGE C-5

D E S I G N P O R T F O L I O
Light, color, rhythm, image, sound; the bases; the datas for a new performance; we can call it electronic play
Le Corbusier, in le poeme electronique
 UNIVERSITY OF KHARTOUM PRESENTED BY : ABDAA ABDELHAMIED MOHAMMED AHMED

UNDER THE RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE FACULTY OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURAL DESIGN SUPERVISED BY : DR. SIEF ALDEEN SADIG HASSAN
MSC PROGRAMME YEAR 2013
STUDIO PROJECT 6
T H E P R O J E C T
STAGE C (TRANSMISSION STAGE) MUSICAL NOTE 1 JOHAN SEBASTIAN BACH: FIRST MOVEMENT ALLERGO

Arch
Balance
Colour
Composition
Contrast
Density
Depth
Development
Dynamics THE TRANSMISSION STAGE 2:
Energy
Flow
Form Here on this stage the models above were converted into
Function volumes to give the sence of the 3d elemt and architecture better
Genre .. Also the project on this stage concentrates on the relationships
Harmony between the open and closed spaces as well as the cluster and axis
Height using the vertical and horizontal elements and also the repetion of
Line them .All those transmissions of the project according to the musi-
Minimalism cal note sound or graph. (see the video for mor information ).
Movement
Ornamentation
Pattern
Phrase
Pitch
Process
Proportion
Repetition
Rhythm
Sequence
F I N A L M O D E L
Space
Structure STAGE C-5
Style
Symbol
Texture
Theme
Transparency
Unity
Volume
D E S I G N P O R T F O L I O
Light, color, rhythm, image, sound; the bases; the datas for a new performance; we can call it electronic play
Le Corbusier, in le poeme electronique