Sound-generated Space

Jesper Bonde
The Royal Danish Academy of Fine Arts
School of Architecture, Copenhagen, Denmark
jb@jesperbonde.com
www.jesperbonde.com

Abstract
Can music be translated into architecture? Is it possible to transmit the musical atmospheric qualities of a given
piece of music to an architectural space as atmospheric spatial quality? This research deals with the perception and
relationship between music, body, and architecture in order to develop an architectural design tool based on the
quantitative and qualitative parameters of music. By digitalizing the processes controlling the production of music
and architecture, it is possible to link the two art forms in a 3D virtual design setup.

A simultaneous development of two architectural projects and the theory behind them, form a basis for a research
discussing different aspects of the translation between music and architecture. Through dynamic animations, the
architectural space and programme are transformed by the action of music. The argumentation is based partly on
the spatial quality of the final architectural output, and partly on the design method´s ability to create space, that
the designer could not imagine when the process was initiated.

Keywords: architecture, music, parametric design, animation, methodology, computational design

1. Preface
Is it possible to translate music into architecture, in a way that the space generated holds a unique spatial quality?
Until a few years ago the translation of music into architecture consisted of an abstract sketch interpreting a given
piece of music, which then provided a basis for the design. Today, both architectural and musical production is
digital. The two art forms can be deducted into almost similar digital parameters and through this deduction they
can be translated into one another.

The purpose of this research is to discover a way to connect music and architecture – to create a symbiotic relation-
ship, where both have an effect on the other. However, the translation between music and architecture is not mainly
a quantitative translation, but a qualitative translation based on quantitative parameters. Music becomes a design
tool, when designing architectural space. Its inherent atmospheric qualities affect the quality of space.

The perception of architecture and music is vital when dealing with this relationship. When experiencing architec-
ture, the body moves through space and the architecture is static. However, when experiencing music, the body is
static and the music is dynamic. This contrast has to be considered, when translating the two art forms. Neverthe-
less, using the body as an entity of translation between architecture and music gives the opportunity to research on
a more subjective relationship between the perception of music, body, and space. One possibility is to move music
through the architecture, in order to approach the subject´s perception of space. Another option is to make the
music static and the architecture dynamic, in order to get closer to the subject´s perception of music. This research
discusses the pros and cons of both methods.

2. Music and Architecture

Sound is a repetitive transmission of sound waves through air. It can be defined by the properties of sound waves:
frequency, wavelength, period, amplitude, and speed. The human ear can perceive from 20 Hz to 20 kHz – but in
the general definition of sound, frequencies under and above this interval is also included. Even though sound can
be described from these physical definitions, this research deals with a more complex composition of sound waves,
where different sounds create structures, rhythm, notes and finally become music. The relationship between sound
and music can be compared to the relationship between building and architecture. There are some atmospheric lay-

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ers in architecture and music, which cannot be found in building and sound - or to put in another way: the entities
of architecture and music cannot be grasped, perceived, and analyzed in a physical way. However, the container of
architecture and music, which is building and sound, can be analyzed and deducted into theory.

Music and architecture are both spatial art forms. Music deals with the space of the listener, which in some cases is
similar to the architectural space, although it can differ when using for instance headphones. Furthermore, music
is also an art form dealing with the concept of time - usually, linearity within a defined timeframe. However, the
perception of architecture does not necessarily have to be within a given timeframe. Therefore, the perception
of architecture can differ from the perception of music in terms of definition of space, and the connection to the
concept of time. This research discusses time and space in conjunction with the translation between music and
architecture.

New digital technologies provide a possibility for music to influence the architectural space in ground-breaking
ways. Music can directly influence the physical environment and not only the atmosphere. Instead of being a sec-
ondary element added after the design of the building, music can be used as a design tool, when developing form
and function. Music will gain spatial relevance on equal terms with other architectural, artistic effects like light,
materiality, and programme.

Any quantitative parameter could be used as a design tool. However, music holds some inherent qualities beside
the quantitative parameters, which can be used to create atmosphere in an architectural space. Music creates atmo-
sphere in the space of the listener, and by using the music as a space-generating parameter the atmosphere can be
transmitted from music to architecture.

3. Technology and Methodology

By digitalizing the processes controlling the production of music and architecture, it is possible to link the two. The
setup can be considered as a machine, where different quantitative inputs create 3D diagrams describing a spatial
sequence. In this way, it is possible to obtain the same differentiation in the spatial sequence as one can hear in
the music. The 3D diagrams form the basis for architecture, discussing general architectural problems, but with an
extra layer - the musical point of departure.

In general, it is a linear methodology consisting of several non-linear intermediate processes - feedback loops. The
translation of music into architecture is conducted as repeating experiments with a qualitative discussion of the
architectural output. The aim is to develop and challenge the architectural toolbox through a specific method that
transforms music into architecture.

The research is based on two architectural projects with two different approaches – two different ways of translat-
ing music into architecture. One is starting from a musical perspective and the other from an architectural perspec-
tive. The argumentation is based partly on the spatial quality of the final architectural output, and partly on the
design method´s ability to create space, that the designer cannot imagine beforehand. The architectural projects
and the theory behind them are developed simultaneously. It is not a theory proved by two physical architectural
projects, nor is it two projects rationalized by post theory. The theory and the architectural projects have been de-
veloped in a symbiotic relationship, where the practical and the theoretical have equally influenced the research by
a hermeneutical, phenomenological approach.

4. Sound-generated Space_ Housing for Musicians
This project uses the translation of music into architecture in a way close to the perception of architecture. The
translation is seen from an architectural point of view, where music is animated along a path similar to a body´s
movement through space. However, architecture is seldom experienced as one spatial sequence, but as several
independent systems interacting within a given form. Therefore, the animation is made from 80 different indepen-
dent systems, interacting when played.

On basis of the deployment of the architectural programme on the site, music is composed to control an anima-
tion of the building, where each instrument controls a choreographed spatial sequence. By animating the music
along the paths of the programme it is possible to translate the music into an animation of a choreographed spatial
sequence.

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 Laptop

Piano MBOX 2 Pro Tools Sound (.Wav)

Soundmodule

3D Studiomax
Regular shape Animated geometry
path animation
Particle system paticle displace
Active Zoom H2 speed
Studio Monitors Stereo mic
Soundmodule
Camtasia Video (.avi)

Figure 1. Live system setup

Figure 2. Animation of 80 systems (screenshot ) Figure 3. Animation output

One system can be set up to perform live (Figure 1), by re-

cording music into 3D Studiomax, where the sound affects
the dynamics of a particle system, which are deforming
an object. However, when using 80 simultaneous systems,
sound has to be recorded in advance, in order to affect
80 different particle systems animated along 80 different
paths (Figure 2). The timeframe for the animation is the
time it would take a person to move from the street to any
given room along the programme deployed on the site.

The output of the animation (Figure 3 & 4) holds an ar-

chitectural quality difficult to describe without referring to
the music animating it. However, the animation in itself is
highly influential on the final outcome. It is easy to recog-
nize the features of the animation with the different paths
and dynamics of the music working along it. Nevertheless,
the architectural result is without reference, and therefore
holds a potential, being the output of a process, the de-
signer could not have predicted when it was initiated.

The output has then been developed according to other

architectural effects like materiality and light (Figure 5).
Still, the atmosphere of the architecture is faithful to the
atmosphere of the original music, and the architecture is
truly a product of the musical point of departure and the
dynamic animations. Figure 4. Animation output

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Figure 5. Interior view

5. Sound-generated Space_ Hotel in Copenhagen

The second project deals with the translation of music into architecture through the perception of music. Music is
emerging from an object representing the body and deforming the architecture according to the atmosphere of the
music. When one listens to a piece of music the body is static and music is dynamic. In this project the body/object
is static and the architecture is dynamic.

building
3D Studiomax
Pro Tools dynamics
particle action
8000 Hz strength

er particle action particle system

filt 4000 Hz
dynamics
strength
r
filte particle system
dynamics
particle action
filter 2000 Hz strength particle system
music
filter
dynamics
particle action particle system
1000 Hz strength
filt particle system
er
fil dynamics
particle action
te
r 500 Hz strength particle system

dynamics
particle action
250 Hz strength

Figure 6. Setup for the animation of the recption atmosphere

As opposed to the previous project, the translation of music into architecture is more detailed. It is not only the
dynamics of the music that affect space, but also the tonality. Music is filtered into six different frequency bands
(Figure 6) that affect a virtual 3D space in six different directions. This virtual construction is animated in four
different places in the hotel according to four different functions associated with the foyer area.

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Figure 7. Reception animation (screenshot)

The project focuses on the spatial sequence from the street to the
hotel room, where the foyer area is the main focus. Reception,
lounge, restaurant, and bar are the functions that lay the foundation
for the translation. A piece of music is composed to each function
based on the atmosphere of the given space and the pieces of music
are affecting the architecture from the inside (Figure 7).

The outputs of the animations are traces of music. Some become

part of the construction, others are pieces of furniture, and some
remains traces of music with only a spatial atmospheric quality
(Figure 8). Still, the spatial quality of the output of the animations
are based on the unpredictable dynamic musical animation, hence
the justification of the process.

The overall structure is affected by the sound of the city recorded

onsite. This dynamic action influences the structure of the architec-
ture in a way that a rhythm is created through the building. Because
of the tessellation of the different geometries, a contrast between
the orthogonal and the organic emerges from the animation (Fig-
ure 9). The architecture is then developed according to other archi-
tectural effects like materiality, light, and tectonics. However, the
space remains a logical consequence of a translation from music to
architecture within the frame of a musical and architectural atmo-
sphere (Figure 10).

Figure 8. Recepion animation output

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Figure 9. Sound of the city animation output

Figure 10. Reception view

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6. Conclusion
The perception of music and the perception of architecture differ in the way the body relates to the art forms.
Nevertheless, if you take either point of departure, the output of the translation from music to architecture holds a
spatial value without reference to other architectural projects. The outcome is unpredictable in the sense that the
designer cannot predict the output, when the process is initiated. However, the spatial atmosphere created in the
hotel project, where the music is static and the architecture is dynamic, reveals a more direct relationship between
music and architecture, as opposed to the housing project, where the animation on its own has more influence.

As a design tool, the dynamic animation of the architecture based on music definitely creates a spatial atmosphere
without reference - a quality of space that cannot be obtained by other means. The quantitative parameters of
music production influence space in a way that the inherent qualities are transmitted as well. However, this is an
irreversible process, where one can use the quantitative parameters to create quality, but it not possible afterwards
to analyze the qualities and reproduce them. It is only possible to recognize the qualities and accept them as present
because of the translation of music into architecture.