The Flower of Life 1

Sacred Geometry

The Harmonics of Music Influencing Architecture

LSAD

Lovely Professional University

AUTHOR'S NOTE:

Submitted by: Anwesha Baruah

Section: A1403

Guide Name:

This assignment is for the fulfillment of the course: ARC-10,

Course name: Design Theory and Criticism

Dated On: Feb 28, 2017

Email Id: anweshaabaruah@gmal.com

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Abstract

Sacred geometry can be defined as a universal system of pattern identification, a complex

system of religious symbols and structures that aims at including space, time and form. It
involves all the geometric and mathematical ratios, harmony and proportions in terms of
music, light and cosmology. This system has been applied not in the present situation but was
in application since time immemorial. It can be traced back to the prehistoric era. By its usage
in our life, a vortex of energy will be created which would empower the ability to introspect
within.

The paper aims at understanding the sacred relationship between the different
musical notes an architecture which when applied together could bring out meticulous and
creative designs. With the incorporation of music into architecture it will help in creating a
design space that is rational, reasonable, sensational and passionate thus furnishing a liveable
space which would dedicates meaning to each and every space as aspired by the user.

Keywords: music, harmonics, proportions, cosmology,

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NEED
The study describes about the proficiency of sacred geometry which when

used as a design source can evoke the genuine sanctity of a place.

AIM
The strategic application of the musical harmonics in the various stages of

design in order to evoke the essence of the space is the aim of this paper.

OBJECTIVE
The objective of this paper is to understand the presence of sacred geometry in

both music and architecture and deduce the bridge within sacred space that amalgamates

music and architecture.

SCOPE
The deduction of the bridge within the sacred space between these two art forms

is the main scope of this paper. Through the in depth study of the musical harmonics the

approach to a spiritual design is to achieved.

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METHODOLOGY

INTRODUCTION
Sacred Geometry is the ultimate Seed of Life (philosophy) which circles the entire
living and non living world thus forming the source of existence of life. Therefore it
can be comprehended that Sacred Geometry when applied in an appropriate
manner to architecture can provide a better design composition satisfying o every
needs and demands of sustainability

NEEDS
The study describes about the proficiency of sacred geometry which when
used as a design source can evoke the genuine sanctity of a place.

Case Studies Positive Negative

1. Brief Introduction The study on this topic gave The application of sacred
to Sacred an idea on how successfully geometry in architecture
Geometry in sacred geometry has been needs to be done
Architecture used in the buildings and meticulously or else the
that should be the base of essence to be achieved may
present design solutions be destroyed.
2. Musical Analogues Musical harmonics when But at times it can applied
understood correctly can be only to accentuate the
used to create harmony and faade physical factor of
essence into our design. building
3. Interaction between In it Xenakis approach to
Music and visualize musical note to
Architecture in the design space and time not
only aims a creating the
physical entity of the
building but also
maintaining the essence of
it.
4. Relationship of In it music has been taken as
Music and the subject for
Architecture as an conceptualizing the design
Alternative Design in order to receive the
Approach required result

CONCLUSION
The critical relationship between music and architecture is a highly
subjective notion, where different people might view different issues as being
critical.. Music is one of such art form that plays with time and can affect the
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INTRODUCTION
Sacred Geometry is derived from the Latin word sacrum which means the last bone of the spine
that holds the whole structure. Similarly sacred geometry is that seed or focal point that forms
the basis of all living and nonliving world. All the tangible and intangible factors such
flowers, math, cosmology and every art form has taken its birth from sacred geometry. Like
the religious ethics forms the basic structure of a being and is considered as holy therefore the
word sacred is used for the spirituality.

Sacred Geometry in Architecture

Sacred Geometry can be considered as the blueprint of the natural world and the foundation
of all forms. It is an ancient science that explores and explains the energy patterns that
create and unify all things and reveals the precise way that the energy of the Universe
organizes itself. Also the foundation of human anatomy was deduced from sacred geometry.
It was from such symbols that numbers were evolved which is a symbol in itself. Numbers
and symbol will always continue to be the universal language of the building trades as
expressed in abbreviated and reduced scale of two-dimensional representations which can be
produced in the three-dimensional form. The symbolic representations exercises certain
human brain faculties which vary from those produced and the one communicated verbally.
In the books like the Orion Mystery by Robert Bauval and Adrian Gilbert in the year 1994
and The Message of Sphinx by Bauval and Graham Hancock in the year 1996, it has been
clearly explained about efficiency of numbers and symbols of Scared Geometry through the
examples of the Pyramids of Giza and the Sphinx. Also through the examples of architecture
of The Temple Man at Luxor it can very well comprehended that the human anatomy used as
a basis in the floor plans of temples has been derived from Sacred Geometry. Therefore,
Sacred Geometry is the bridge to creativity and one understanding its essence can create
architecture that will quench the needs of present as well as the future.
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SACRED GEOMETRY in MUSIC

In music, its vibratory laws are applied in order to manifest the aura of the surrounding that
exists at the center of everything. The notes and intervals of music have an intangible
connection with the chakra centers thus causing them to harmonically vibrate to the vibration
of various types sounds in its surroundings.

In order to trigger the emotion response of the listener through music, the laws of physics and
mathematics are being used. Based on Twelve note section, mathematical laws and systems
are used to create harmonized music in the Western music world. All the songs that were
ones created and has been in the process of creation is based on the number twelve. Its just
like telling the time and measuring time. Musical scale was designed to play the harmonies of
the heavens, the music of the spheres, allowing higher principles to enter our lives through
our sense of hearing and emotion. It was seen as having great power for producing heaven on
earth. Music also has the power to heel and therefore could overthrew any intellectual
abilities with its power of manipulating the passion and emotion of the player as well as the
audience. During the ancients times such musical pieces were properly tuned and purified in
order to maintain and preserve the unseen divinity of this art in the world by playing the
instruments properly and accurately. It was a sign of devotion and the creation of tranquil
ambience within. .

The clock is a circle divided evenly into twelve hours. An octave of music is divided evenly
into twelve semitones. Therefore, if the twelve semitones of an octave of music is assigned to
the twelve numbers on the clock, and a line is drawn from each number to each other number,
then harmonisphere is formed.
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The Relationship between Music and Architecture

The literal meaning of architecture shares the same value as by the music which
affects the person thus using the talents to translate emotions in the form of sketch or
3-D models. The works of architecture shares its similarity to the musical work as
both contain the same mixture of rhythm, unity, variety and harmony. The purest form
of musical symphony can be obtained through the following architectural outlines:
Arches and colonnades denoting the musical pieces.
Columns denoting drum hits or organs of church
Transparency of glass curtain walls denoting the most pure voice.
The closed forms denoting the opera
The spaces between forms denoting music pauses and
The floors and slabs denoting the musical notes.
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Explaining the mutual relationship between music and its philosophical

effect on the architectural ideas through the following examples:
The Inner Effect

An example of the Berlin museum, Berlin, Germany.1989-2002

If the project of Daniel Libeskind is analyzed, one can notice that the architect had a vision of
creating successful designs by the meticulous application of certain philosophical musical
symphony which was then converted to actual lines. The main idea was created due to
Arnold Schoenbergs Moses & Aaron, an allegorical opera whose subject, according to the
writer and pianist Charles Rosen, is the impossibility of realizing an artistic vision. Due to the
death of the German maestro during World War II the symphony of that opera was
considered as unfinished. Since the architect was Jewish, his religious ethics made him
inclined to the opera representing the great stories of the Hebrew prophets.in order to put on
symphony graphically, zigzag line were used to represent the formation of melodies and the
sequential high waves of the notes as can be seen in the unfinished opera. Therefore it can be
conceived that music can be used in architecture not only for the purpose of beautification but
also to cater the functional aspect of it. Therefore it is difficult to understand the musical
relationship with respect to architecture.
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Hollein, rather than adding element to the building has subtracted from his design in order to
alter the geological difficulties to his favor. The most dominant theme of the museums
architecture is the contrasting interaction of black and light areas which approximately
reflecting the same contrast and the sublime effect as can be seen in Mozarts The Magic
Flute. His aim was to transform the caverns concealed mountain into exhibition areas so that
the visitor could climb laterally up the cliff to an excavation of 20 meters wide and40 meters
high, thus illuminating it from above. Stairs acted as the main circulatory path of the building
thus leading to halls inside the caverns first and then to the large exhibition spaces, which
illuminated the upper side through lights.

2. The Outer Effect

The architectural ideas of the Italian architect Manfredi Nicoletti was highly influenced by
the mystical and musical symphonies of the Italian opera. Therefore the influence of the
Italian opera in his works of architecture especially in the facade treatment is highly visible in
his projects like, example: Sea Wave Sound Wave, The fluttering hands of a violinist. In it
the idea of transparent wave roof has been used in order to protect and shelter the City of
Music by creating a covered piazza and through the materialization of music and water.
Under the Wave, a new animated cityscape extends the Cardiff Bay urban fabric: the foyer
and terrace restaurants, bar and exhibition areas on the roof top of the auditorium and the
other facilities form a variegated sequence of weather-protected smaller piazzas at different
levels.
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Musical Analogues
The musical analogies can be used in the architectural design system to formulate design
theory and the constructive principles. The common cosmological analogies of both music
and architecture were drawn from the scientific and metaphysical foundations of the
Pythagorean Theory of harmonic proportions. In the book Musica Enchiriadis it explains
that the notes which create good music can also create different tones determining the way of
life, the behavior of human body and harmony of universe which are of the same numerical
proportion. St. Augustine in his treatise has mentioned that the contemplation of geometry
in music and architecture was seen to play an "anagogical" function: one leading the
mind from the world of appearances to an understanding of the Divine. One such
example is Chatres Cathedral in which the use of multiple musical ratios can be perceived from the
proportions of the width of the naive which creates a triangular hypotenuse respectively on the
nave wall. Even architects like Frank Lyod Wright and Le Corbusier has also articulated music to be
their source of generating harmony, proportion and symphony in their designs. The quality of
movement is an essential aspect of all music and the first step towards the musicalization of
architectural experience may well be to stimulate the perception of movement in spatial and
architectural experience. Irrespective of the structural characteristics of architecture, the
architectural experience possesses the dynamic quality as music. A dynamic sense of rhythm
and tempo can be created in architecture through a choreographed progression of spaces
varied in accentuation, scale, and form. Architecture can simulate music's metrical
accentuation through formal emphasis or variation.
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Interactions between Music and Architecture through the

The article by Xenakis states about the sophisticated creation of composed, immaterial and
dynamic spaces that evolved from an abstract, conceptual relation between music and
architecture based on the transfer of models from the mathematical and scientific world, with
a more sensual and practical approach to it. Experiencing and exploring alternative modes of
listening has always been the prime goal of Xenakis. In the later work of the mid-1980s and
1990s Xenakis has mentioned that the knowledge of asceticism and abstraction as the purist
point of view and evoke the essence or spirituality. The search for an immersive experience
but the importance and attention to visual and architectural aspect of the listening
environment made Xenakis approach to the subject contradictory. But if properly observed
then approach was aptly designed for achieving the goal. In Notes sur un geste
lectronique, published 40 years earlier, he described for instance an isotropic acoustic
space paved with speakers. The aim of Xenakis was to disengage the aural experience from
the physical presence rather to incorporate it in the intangible aspect along with the tangible
ones. Consequently, this text already announces Xenakis abstract approach to listening.
Thus, the statement above is only a radical reformulation of his vision of a proto-virtual
listening situation, providing a context for the listener to become only ears
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ANALYSIS
Through this entire journey of design approach through music it can be deduced that music can be
definitely used in creating architecture. But it depends upon the user as in how the inspiration shall
be drawn and in which field. This includes application of this approach only for the aesthetic purpose
such as in faade or else the creation of spiritual and dynamic space through the understanding of
the various harmonic notes. The latter is the most creative and critical part of the design approach if
achieved can create architecture which would serve as the universal resource. To create and
maintain the essence of a space is the most difficult task of any designer. But if music is chosen as an
approach then study of the timing of various notes and its impact on the human psychology can be
used to generate the spirituality of the space thereby creating a living space responding to the
various future demands.

CONCLUSION
The critical relationship between music and architecture is a highly subjective notion, where
different people might view different issues as being critical. The lack of a singular critical
relationship between music and architecture can be the motivation of initially connecting the
two for the purposes of exploring the creativity. Music is one of such art form that plays with
time and can affect the feelings of the listener. Therefore by understanding the harmonic
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notes and its effects on human psychology at various time events can be used in creating
more spiritual spaces.

REFERENCES

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Source : http://faculty.arch.utah.edu/benham/group%201/Sara/Musical%20Analogies.pdf
Source : http://ancientquest.com/wp-
content/uploads/2015/10/SacredGeometryArticleKarenRallsWebsite.pdf