Sound and space: A transdisciplinary aprroach to form generation

In order to create a visual form, music and architecture have used mathematical ratios over the history. From past to present, there have been an interdisciplinary interaction between music and architecture, the reason of which is the pursuit of aesthetic continuing for centuries. In our day, while this pursuit of aesthetic keeps on, architecture has gone into a quest of designing a new world; by the development of computer technology, space design has come to an transdisciplinary state; building design has changed into bulk aesthetic from surface aesthetic. Nevertheless, in the past or in the future, mathematics has always been and will be the most significant factor to affect aesthetic results. In architecture, we encounter many silent forms being generated by the use of mathematical expressions. And in music, while generating abstract aesthetic compositions, composers use musical notes having certain frequency values. To reach the aesthetics, every music artist uses fractal (common name in music, for complex geometrical forms demonstrating mostly the feature of resembling itself) arrangement of these frequencies. Considering the interdisciplinary interaction of music and architecture, no form is invisible, no artefact is silent. Transforming a tangible architectural form into a musical composition or a musical abstract form into an architectural work is possible. Within this context, the aim of the study is to depict the frequency ranges and frequency arrangements of a determinated musical piece in digital design environment and constitute transarchitectural forms by examining the sonic experience of acoustic performance-oriented, smart geometric architectural forms. In this study, the intersection of two disciplines will be examined in the perspective of architecture; a stumper and interrogative start for pursuit of architectural forms of the present day with the transformation of auditory forms to visual forms will be made; and a basis will be provided to be able to discuss the innovations that the spaces, structures and auditory experiences which can be formed by obtaining musical codes bring. When we look at the present, the buildings remain as plastic units being sound insulated, the surfaces of which are smooth-rubbed, rendered clean by ventilation system, lacking soul and appealing to no sense except visuality. With the use of transvergence method, it is required to go beyond the strict rules of single discipline and bring a new and genuine approach to space design. This thesis is consisted of six sections. Within the scope of the study, in the introduction, in which ways the music has affected the design from past to present will be explained. After defining the aim and the scope, in the second section, the interaction of mathematics-music, mathematics-architecture providing the internal connection between two disciplines will be examined from different perspectives. In the third section, disciplinary concepts and studies made throughout the present-day will be included; a comprehensive examination of similar projects will be made. Within the context of the executed research, literature review and approach methods will be examined with examples by being divided into categories. In the fourth section, conceptual basis of form generations; processes; and, in terms of outcomes, methodology of generation of forms will be explained. Four different concrete forms will be generated using the specified method. Finally, in the fifth section, by making an examination quantitatively on the basis of acoustic components, the reflected impact of the generated forms on the experiencer will be examined.