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Mahmoud Riad, May, 2009 Directed By ABSTRACT Title of Document: ARCHITECTURE: MUSIC, CITY, AND CULTURE Mahmoud Riad, May, 2009 Directed By: Professor Peter Noonan, ARCH Many scholars have discussed the relationship between architecture and music. Design methodologies have been created to highlight this intersection, attempting to attain the sublime. While architecture theorists have used western music as a foundation, this thesis aims to investigate this relationship in a non-western setting. Music would be used as a cultural identifier, to unlock "hidden dimensions" shared in language, music, and architecture. The case study site is historic Cairo, between the Fatamid Walls. For the past two centuries, Cairo has abandoned its cultural heritage and embarked on a process of westernization. Those who seek to hold onto the city’s identity are abusing traditional motifs in a manner that seems cliché and somewhat absurd. The thesis calls for a deeper understanding and evolution of Cairo's heritage, using concepts of the Arabic Melodic modes, Maqams, to create a place for listening, al Masmaa’. ARCHITECTURE: MUSIC, CITY, AND CULTURE By Mahmoud Riad Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of August 2009 Advisory Committee: Professor of the Practice, Peter Noonan, AIA Professor Robert L. Vann, PhD Associate Professor Brian Kelly, AIA Visiting Assistant Professor Elliot Bates, PhD Professor Emeritus William Bechhoefer, FAIA © Copyright by Mahmoud Riad 2009 Preface If needed. ii Foreword If needed. iii Dedication I would love to dedicate this to my family; Mohamed, Rajaa, and Khaled. Without your support over the years, none of this could have happened. It was all worth it iv Acknowledgements I owe a debt of gratitude to my committee, Peter Noonan, for pulling me down to the ground whenever I was flying over my head in confusion; Robert Lindley Vann, for walking down my thesis site with me and for watching out for me over my graduate career path; Brian Kelly, for his amazing efforts and leadership in directing this thesis class yet still also be a key contributor in each and every thesis project, and especially in mine; Elliot Bates, who seemed to serendipitously appear early in my thesis research, and without him, this thesis could not have been rich in musical texture; and last but in no way least, William Becchoefer, who made sure I kept in line, did not go overboard and kept this an architectural project. I would also love to acknowledge my former professors, both in Cairo and Maryland, who have helped shape the ideas brought forth in the thesis, Yehia el Zeiny, Ghazaly Keseiba, Mohammed Tawfik Abd el Gawad, Hatem Morsy, Roger Lewis, Sami Abd el Aziz, Matt Bell, Karl DuPuy, Richard Etlin, Ralph Bennett, Ronit Eisenbach (who formally initiated this research with me as a series of independent studies), Tom Schumacher, Carl Bovil, Mark Ramirez, Michael Ambrose, Omar Farouk, Ahmed Hamid, and B.D. Wortham-Galvin. A special thank you to Ahmed Amr, Yasser Alaa, Ahmed Elaithy, Alia Tawfik Zakareya, Amir Khalaf, Andrew R. Gipe, Artur Khalil, Bobby Tjaden, Brett Swiatocha, Beret Dickson, Carl Lostritto, Dave Jones, Hussein Shahine, My uncle Ahmed Riad (RIP), Hassan Mansour (RIP), Khaled Fawzy (RIP), Deena el Attar, Dina Habib, Eiten Zeerban, Erin Waskom, Fiver Sorauf, Hesham Foda, Gamal Hasehm, George Azmy, Hakem Rustom, Hany Mustafa Gamal-el Dein, Hatem Saleh, Haytham Fayrouz, Hussein Barrada, Mahmoud Youssef, Ahmed Hosny Radwan, Jason Cheung, Lin Mao, Lina Haddad, Lisa LaCharite Lostritto, Jonathan Healey, Mahmoud Sirry, Mai Daoud, Martiena Schneller, Matt Ponsi, Peter Leung, Shawna Grant, Martina Hammour, Salma Shamel, Mariam Alkhost, Mariam el Mofty, Gamilla Kasem, Jonathan Mckerin, Mohamed Saleh, Mohamed Chawarby, Nader Sami, Nandor Mitrocsak, John Bryant, Nooni Reatig, Rami el Kerdani, Ray Cho, Richard Woffenden, H.E. Sheikh Ghassan I. Shaker, Ritsart Marcelis (also credited with the help of the conceptualization of al Masmaa’), Robert Sanz, Al Rubeling, Seif Marwan, Shady Attia, Sherif Zaki, Suzy Hwang, Anita Hsieh, Laura DiIorio, Mathew Young, Taha el Sebai, Kalee Hartman, Tarek Farid, Tarek Shalaby, Tuck Seid, Nadra Ibrahim, Tom Swift, Ahmed Zaman, Zak Schooley, Youssef Altay, Sahin Kaya Arikoglu, Daniel Hayes, Angelo Claudio, Scott Munroe, and Bill Malari, for their support and brainstorming over the years, all of which helped culminate into this body of work. v Table of Contents Preface..................................................................................................................................................... ii Foreword ................................................................................................................................................ iii Dedication .............................................................................................................................................. iv It was all worth it.................................................................................................................................... iv Acknowledgements ................................................................................................................................. v List of Tables........................................................................................................................................... x List of Figures ........................................................................................................................................ xi Chapter 1: Introduction ........................................................................................................................... 1 Chapter 2: Architecture as a Sequence of Harmonic Spaces................................................................... 6 Section 1: Introduction.............................................................................................. 6 Section 2: Frozen Music (a General Guide to Music Theory).................................. 7 Section 3: The Proportional Relationship Between Music and Architecture ......... 12 Section 4: Musical Proportions in the Palladian Villa............................................ 16 Section 5: Proportions in Music.............................................................................. 24 Section 6: Harmony in Architecture ....................................................................... 30 Section 7: Proportions in Egyptian Music and Architecture .................................. 36 Subsection 1: Egyptian Music ............................................................................ 36 Subsection 2: Proportions of Islamic Monuments in Cairo................................ 38 Chapter 3: Architecture as a Stimulus for Movement ........................................................................... 44 Section 1: Introduction............................................................................................ 44 Section 2: Introduction to Rhythm: Meter and Time in Music............................... 46 Section 3: Rhythm in Architecture ......................................................................... 47 Section 3: Rhythmic Music, Rhythmic Architecture.............................................. 53 Subsection 1: Pachelbel’s Canon in Dmaj.......................................................... 53 Subsection 2: Um Kalthoum’s “Alf Leila wa Leila”.......................................... 56 Chapter 4: Architecture as a Musical Instrument .................................................................................. 58 Section 1: Introudction............................................................................................ 58 Section 2: Architecture as a Musical Instrument .................................................... 59 Section 3: The Soundscape ..................................................................................... 64 Section 4: The Use of Sound as a Place Making Tool............................................ 69 Section 5: The Islamic Aural City .......................................................................... 70 Chapter 5: Music as an Inspiration for Architecture (Irrational Expression) ....................................... 75 Section 1: Introduction (A Personal Voyage with Synesthesia)............................. 75 Section 2: Synesthesia............................................................................................. 77 Section 3: Types of Synesthesia ............................................................................. 78 Section 4: Levels of Synesthesia............................................................................. 81 Section 5: Healing Colors of Sound........................................................................ 82 Section 6: Synesthesia in Arabic Culture................................................................ 83 Chapter 6: Music as an Inspiration for Architecture (Rational Expression).......................................... 84 Section 1: Introduction............................................................................................ 84 Section 2: Deconstruction vs Synesthesia............................................................... 86 Section 3: Deconstruction as a Tool for Abstraction.............................................. 87 Section 3: Deconstructing Rhythm ......................................................................... 89 Section 4: Formalized
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