SIGHT SOUND STRUCTURE!
A n  e x p l o r a t i o n  o f  t h e  re l a t i o n s h i p  o f  f i l m  m u s i c  a n d  a rc h i te c t u re .
2T h i s  d o c u m e n t  i s  s u b m i t te d  i n  p a r t i a l 
f u l f i l m e n t  f o r  t h e  d e g re e :
M a s te r  o f  A rc h i te c t u re  [ Pro f e s s i o n a l]  a t  t h e 
Un i v e r s i t y  o f  t h e  W i t w a te r s r a n d , 
Jo h a n n e s b u r g ,  S o u t h  A f r i c a ,  i n  t h e  y e a r 
2 0 1 1 .
I ,  Pa u l i n e  Hay w a rd ,  0 4 0 6 0 7 4 Y  a m  a  s t u d e n t 
re g i s te re d  f o r  t h e  c o u r s e  M a s te r  o f  A rc h i -
te c t u re  [ Pro f e s s i o n a l]  i n  t h e  y e a r  2 0 1 1 .  I 
h e re b y  d e c l a re  t h e  f o l l o w i n g :
I  a m  aw a re  t h a t  p l a g i a r i s m  [t h e  u s e  o f 
s o m e o n e  e l s e’s  w o r k  w i t h o u t  p e r m i s s i o n 
a n d / o r  w i t h o u t  a c k n o w l e d g i n g  t h e  o r i g i n a l 
s o u rc e s]  i s  w ro n g .   I  c o n f i r m  t h a t  t h e  w o r k 
s u b m i t te d  f o r  a s s e s s m e n t  f o r  t h e  a b o v e 
c o u r s e  i s  my  o w n  u n a i d e d  w o r k  e x c e p t 
w h e re  I  h av e  s t a te d  e x p l i c i t l y  o t h e r w i s e .   I 
h av e  f o l l o w e d  t h e  re q u i re d  c o nv e n t i o n s  i n 
re f e re n c i n g  t h o u g h t s ,  i d e a s ,  a n d  v i s u a l  m a -
te r i a l s  o f  o t h e r s .   Fo r  t h i s  p u r p o s e ,  I  h av e 
re f e r re d  to  t h e  G r a d u a te  S c h o o l  o f  E n g i -
n e e r i n g  a n d  t h e  B u i l t  E nv i ro n m e n t  s t y l e 
g u i d e .   I  u n d e r s t a n d  t h a t  t h e  Un i v e r s i t y  o f 
t h e  W i t w a te r s r a n d  m ay  t a k e  d i s c i p l i n a r y 
a c t i o n  a g a i n s t  m e  i f  t h e re  i s  a  b e l i e f  t h a t 
t h i s  i s  n o t  my  u n a i d e d  w o r k  o r  t h a t  I  h av e 
f a i l e d  to  a c k n o w l e d g e  t h e  s o u rc e  o f  t h e 
i d e a s  o r  w o rd s  i n  my  o w n  w o r k .
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Pa u l i n e  Hay w a rd
No v e m b e r  2 0 1 1
D
E
C
LA
R
A
T
IO
N
3T h i s  t h e s i s  i s  d e d i c a te d  to  my  Mo m . 
T h a n k  y o u  to  my  Da d  f o r  a l l o w i n g  m e  t h e 
o p p o r t u n i t y  to  f u l f i l l  a  d re a m .
To  my  w h o l e  f a m i l y   f o r  y o u r  s u p p o r t  a n d 
e n c o u r a g e m e n t  t h ro u g h o u t  t h e  b u s y  y e a r s 
o f  a rc h i te c t u re  s t u d y i n g .
T h a n k  y o u  to  a l l  t h e  l e c t u re r s  a n d  m e n to r s 
e n  ro u te  t h i s  e x c i t i n g  j o u r n e y.  To  Ha n n a h 
l e  R o u x  f o r  y o u r  c o n t i n u e d  s u p p o r t  a n d 
g u i d a n c e  t h i s  y e a r.  Yo u r  s u p e r v i s i o n  a n d  i n -
s i g h t  h a s  p ro v i d e d  s o m e  c a l m  a m o n g s t  t h e 
f r a n t i c  j o u r n e y. 
T h a n k  y o u  to  t h e  l i b r a r y  s t a f f  f o r  a l l  t h e i r 
h e l p  t h ro u g h o u t  my  t i m e  a t  W i t s .
To  M a r g u e r i te  P i e n a a r  f o r  t h e  m a ny  c r i t s 
a n d  b e l i e v i n g  i n  m e  a n d  o f f e r i n g  s u p p o r t 
a n d  e n c o u r a g e m e n t  a n d  e x c i te m e n t .
To  f r i e n d s ,  c o l l e a g e s  a n d  p ro f e s s i o n a l s  i n 
v a r i o u s  f i e l d s  w h o  m ay  h av e  h e l p e d  e x te n d 
my  i d e a s ,  b e  i t  i n  a n  i n te r v i e w,  d i s c u s s i o n 
o r  a  v i s i t  to  t h e  m o v i e s .
A
C
K
N
O
W
LE
D
G
E
M
E
N
T
S
4C
O
N
T
E
N
T
S
554
58
78
106
Sight Sound Structure!
Physical Context
Programme
Exploration & Process
Design
References
8
32
Abstract 6
6
7A n  e x p l o r a t i o n  o f  t h e  re l a t i o n s h i p  o f 
f i l m  m u s i c  a n d  a rc h i te c t u re .
Fi l m  i s  a b l e  to  c a p t i v a te  a n  a u d i e n c e 
a n d  w i t h o u t  a  s i n g l e  w o rd  b e i n g  u t te re d , 
a  p i e c e  o f  m u s i c  c a n  a l te r  t h e  v i e w e r ’s 
p e rc e p t i o n  o f  a  f i l m .  T h e  f a s c i n a t i o n  o f 
t h e  e n c o u n te r  o f  m u s i c  a n d  f i l m  a n d  i t s 
p ro v o c a t i o n  o f  e m o t i o n s  i s  a  t r i g g e r  f o r 
t h i s  t h e s i s . 
T h e  o b j e c t i v e  i s  to  e x p l o re  i d e a s  o f 
r hy t h m ,  s t r u c t u re ,  n a r r a t i v e s  a n d  o t h e r 
p a r a l l e l s  t h a t  a re  p re s e n t  i n  a rc h i te c t u re  
to  i n s p i re  a  d e s i g n  t h a t  e v o k e s  a n  e x p e r i -
e n c e .  L i g h t ,  s o u n d  a n d  m a te r i a l s  a n d  t h e i r 
a s s o c i a te d  te x t u re s  w e re  re a l i s e d  to  b e 
i m p o r t a n t  i n  e v o k i n g  a n  e x p e r i e n c e  w i t h -
i n  a rc h i te c t u re . 
T h e  p ro g r a m m e  t u r n e d  o u t  to  b e  a  c e n t re 
( Mo A c t)  i n  w h i c h  f i l m  i s  c e l e b r a te d  a n d 
w h i c h  a l l o w s  f o r  p u b l i c  e n g a g e m e n t  a s  a 
p l a c e  w h e re  f i l m s  a re  s h o w n  a n d  m a d e ;  a 
p l a c e  t h a t  s p re a d s  f i l m  l i te r a c y  a n d  a d d s 
v a l u e  to  t h e  f r a g m e n te d  a re a  o f  B r a a m f o n -
te i n  We r f .
A
b
stra
ct
8Pallasmaa (2006: 02) states that  “architecture 
and cinema are entangled with the theoretical 
impurity of the phenomenon of life itself.”
 A phenomenon is understood to be an occur-
rence or happening that is perceived through 
the five senses. 
 Is there something valuable in 
considering how one experiences spaces? 
Can a design methodology or strategy be 
informed by film and its music to create a less 
bland and predictable 
architecture?
Film is able to captivate an audience and without a 
single word being uttered, a piece of music can alter 
the viewer’s perception of a film. The music adds a 
dimension of emotion to the visual communication 
that is often only noticed in its absence and in its 
presence is often subliminal. 
The fascination of the encounter of music and film 
and its provocation of emotions is a trigger for this 
thesis. The objective is to explore ideas of rhythm, 
structure, narratives and other parallels that are 
present in architecture and to inspire a design that 
accommodates the ideas that evolve. The design 
turned out to be a centre in which film is celebrated 
and which allows for public engagement in a place 
where films are shown and made; a place that spreads 
film literacy and adds value to the fragmented area of 
Braamfontein Werf.
Film is a vast industry that can cover the production 
of advertisments, music videos to short experimental 
art films  and large popular films. There is also the op-
portunity to use films as a teaching tool with health, 
training and educational programmes or documen-
tries, thus it is able to improve the quality of life for 
those who have access to it. The aural and visual na-
ture of film allows it to be a form of communication 
that can cross divisions of society, particularly in one 
where education has and continues to be unequal.
South Africa is a country with diverse landscapes 
and locations which has allowed it to become  more 
regularly chosen as a filming location by foreign film-
makers. The low production costs and currently fa-
vourable exchange rate mean that it can be up to forty 
percent cheaper to film in South Africa as opposed to 
Europe or America and up to twenty percent cheaper 
than Australia. (SAinfo Reporter, 2008) Recent 
successful international productions such as Blood 
Diamond and Lord of War have enhanced South 
Africa’s reputation as a film location which brings 
about opportunities for local film crews and techni-
E
S
S
A
Y
In
tr
o
d
u
ct
io
n
9cians. Critical acclaim to various locally produced 
films such as  Gavin Hood’s Tsotsi and more recently 
Oliver Hermanus Skoonheid has helped to encourage 
a growing local film industry.
Despite these international successes South Africa’s 
contribution to the global output is believed to be a 
very tiny 0.4%. Although there has been an increase 
in local productions and as a result an increase of 
7.5% of people employed in the industry since 1995 
there is still a large disparity between the production 
and consumption of films. (SAinfo Reporter, 2008) 
As can be seen in the graphs, South Africa produces 
one of the smallest amounts of film in Africa yet 
South Africans are the African nation that consumes 
one of the largest amounts of films.
The government has identified the film industry as a 
sector with a large potential for growth; the spin off 
into transport, hospitality and catering also creates 
many jobs of various skill levels. Thus the govern-
ment has tried to create many incentives to ensure 
this growth occurs, including co-production treaties 
with Canada, Italy, Germany and the United King-
dom. Locally the National Film -and Video Founda-
tion, the Industrial Development Corporation and 
the Department of Trade and Industry are the chief 
investors in the film production industry.
A recent public-private partnership has resulted in an 
international film studio having been completed in 
Cape Town, with four sound stages, various offices, 
set production warehouses and a small cinema. In 
contrast this thesis explores a smaller centre that 
focuses on film literacy and thus  attempts to provide 
opportunities for local development of a different 
scale.
Through various interviews and conversations I came 
to realise the complexity of film making and more 
particularly the post production of a film which in-
cludes the addition of sound and music. It intrigued 
me that in a country with such a high consumption 
the production is so low, as shown in the graphs.
In a frank discussion with Harriet Gavshon, the 
managing director of Curios Pictures, I came to 
realise that this is because film consumption is pre-
dominantly aimed at suburban South Africa through 
cinema complexes within large shopping malls. If film 
literacy increases then the demand for local films for 
a larger portion of the population would increase too, 
thus the need for film literacy becomes important. 
To this end the National Film and Video Foundation 
have a digital screen distribution in place, and have 
reportedly been instructed to build a film school. 
The digital screens are largely distributed in previ-
ously disadvantaged areas, and any one of these areas 
could be considered for a film complex. However the 
opportunity to be within a kilometre of the SABC, 
with various film companies in the area and two large 
public tertiary education institutions, allows for a lot 
of exposure for the centre, which led to the consid-
eration of Braamfontein Werf.
In a recent interview on ClassicFm’s programme 
“People of Note” hosted by Richard Cock(28th Au-
gust 2011) Michelle Constant, the CEO of Business 
60
Africa 
Admissions in selected African countries | 2003-2007
In millions.
0
30
10
20
2003 2004 2005 2006 2007
25.1
24.0 24.5
24.9
26.8
23.8
9.5
6.8
4.8
3.8 3.4
25.7
27.6 28.3
26.0
Sources: Screen Digest, Euromed, CCM, Les cahiers du cinéma
Number of feature fi lms produced in selected African countries | 
2004-2008
0
60
40
20
2004 2005 2006 2007 2008
38
39
59
49
35 (1)
15 15 15
11
12
10 10
10
6
4
7
(prov.)
Sources: Dubai International Film Festival, Screen Digest
South Africa e 
Egypt e
Egypt
Morocco e
Tunisia
South Africa 
Morocco
Algeria Egypt Morocco
South
Africa Tunisia
Population 2008 (millions) e 34.8 75.1 31.2 48.7 10.4
GDP per capita 2008 (USD) e 4 922 2 109 2 902 6 170 4 032
Gross Box Offi ce 2007 (USD millions) e 0.01 44.1 7.8 60.2 ~
Admissions 2007 (milions) e 0.7 (1) 23.8 3.4 26.0 0.3 (2)
Admissions per capita 2007 (USD) e 0.02 (1) 0.32 0.09 0.54 0.03 (2)
Average ticket price 2007 (USD) e 0.85 (1) 1.85 2.71 2.32 1.76 (2)
Screens 2007 10 400 104 831 27
Digital Screens June 2008 ~ ~ ~ 4 ~
National Market Share 2007 e ~ 85% (3) 15% ~ 15% (2)
(1) 2006 (2) 2005 (3)  2008 Sources: Dubai International Film Festival, Screen Digest, Variety, Euromed
(1) as of 12 November 2008.
60
Africa 
Admissions in selected African countri s | 2003-2007
In millions.
0
30
10
20
2003 2004 2005 2006 2007
25.1
24.0 24.5
24.9
26.8
23.8
9.5
6.8
4.8
3.8 3.4
25.7
27.6 28.3
26.0
Sources: Screen Digest, Euromed, CCM, Les cahiers du cinéma
Number of feature fi lms prod ced i  selected Africa  countries | 
2004-2008
0
60
40
20
2004 2005 2006 2007 2008
38
39
59
49
35 (1)
15 15 15
11
12
10 10
10
6
4
7
(prov.)
Sources: Dubai International Film Festival, Screen Digest
South Africa e 
Egypt e
Egypt
Morocco e
Tunisia
South Africa 
Morocco
Algeria Egypt Morocco
South
Africa Tunisia
Population 2008 (millions) e 34.8 75.1 31.2 48.7 10.4
GDP per capita 2 08 (USD) e 4 922 2 109 2 902 6 170 4 032
Gross Box Office 2007 (USD millions) e 0.01 44.1 7.8 60.2 ~
Admissions 2007 (milions) e 0.7 (1) 23.8 3.4 26.0 0.3 (2)
Admissions per capita 2007 (USD) e 0.02 (1) 0.32 0.09 0.54 0.03 (2)
Average ticket price 2007 (USD) e 0.85 (1) 1.85 2.71 2.32 1.76 (2)
Screens 2007 10 400 104 831 27
Digital Screens June 008 ~ ~ ~ 4 ~
National Market Share 2007 e ~ 85% (3) 15% ~ 15% (2)
(1) 2006 (2) 2005 (3)  2008 Sources: Dubai International Film Festival, Screen Digest, Variety, Euromed
(1) as of 12 November 2008.Fig 1. umber of films created
(Source: Dubai In rnatio al Film Festival, Screen Digest)
Fig.2  Admissions into Cinemas
(Source: Dubai International Film Festival, Screen Digest)
10
In Johannesburg the recent creation of the non-profit 
organisation Assemblage,  illustrates that there are 
members of the art community who see the value 
of an inclusive forum of professionals, students and 
recent graduates who are able to share resources, 
knowledge and skills. This is done through vari-
ous workshops, group exhibitions and making peer 
mentor groups who meet regularly. Both Harriet 
Gavshon and Wits Professor Dr Tanya Sakota-Kokot 
implied that this sort of link between professionals 
and students is currently lacking and that it would 
be wonderful to have a space that allows for cultural 
meetings.
It is important for the growth of any artistic industry 
to have a growing audience. There are a few exam-
ples of places and events that allow people of Johan-
nesburg, the opportunity to overlap entertainment 
with a depth of interest and knowledge. The new 
independent cinema, the Bioscope in the Maboneng 
Precinct, shows films of various eras, from many 
countries and which are often not on the main circuit, 
giving its customers the opportunity to experience 
different cultures and styles of movie making.
 Similarly, the success of the Troyeville monthly  
Wine and Dine evenings (regularly featuring on inter-
net ‘to do in Joburg’ Lists) illustrates that there is an 
audience in Johannesburg that is wanting a convivial 
space that overlaps both enjoyable and enlighting 
experiences. 
Thus I believe it is important to have a strong public 
part to the project, to so as to allow the opportu-
and Arts South Africa, stressed the importance of pri-
vate business ventures to continue the development 
of the Arts within South Africa. She also suggested 
that there are not enough venues within Johannes-
burg to support the growing arts and in particular the 
music scene, which has a need for different sized ven-
ues in order to allow for the different types of music 
as well as the various skill level. As a new musician, 
it was suggested that it is difficult to find a smaller 
intimate venue, from which one can build a support 
group and move towards performing in larger venues.
Although the film industry co-operates with com-
posers and musicians to add music and sound to the 
films, it is not necessary for them to be working in 
close physical contact. The always improving tech-
nology makes it possible to work with professionals 
and never have to meet. However there is an interna-
tional growing trend of creative workers who believe 
a closer physical collaboration between disciplines 
could create opportunities for new ideas.  
The recent development by Diller Scofidio Renfro of 
the Perry and Marty Granoff Centre at Brown Uni-
versity  illustrates how there is a tendancy for digital 
arts and contemporary arts to be finding more and 
more common ground. In the design,  the disciplines 
are separated through a split level, so as to allow for 
the particular development of each’s own process; 
however there are many areas where there is an en-
couragement to cross over and interact with a differ-
ent art form and there are also many visual linkages. 
This suggests that future creative people will want to 
work in closer proximity as they have learnt to do so 
whilst learning their disciplines. 
11
nity for film and music to have an improved quality, 
driven by the promotion and access to the disciplines 
in broader society and, through forum and discus-
sion, to enhance the experience of those within the 
disciplines. Film can be a source of visual knowledge 
through informatics, architecture and music.
Fig 3. Film Poster - Lord of War
(Source: www.imdb.org)
Fig 4. Film Poster - Tsotsi
(Source: www.imdb.org)
Fig 5. Film Poster - Skoonheid
(Source: www.nfvf.co.za)
12
A
rc
h
it
e
ct
u
re
 a
n
d
 N
a
rr
a
ti
ve
Music and sound within films evoke emotion; 
they add to the atmosphere in such a way that 
the spectator is not simply watching visuals 
but rather becomes intrinsically involved in 
the narrative. 
Narrative is defined as the art of telling a story 
through a series of events, the description of 
these events allowing for one to make sense 
of an experience or multiple experiences. 
How does architecture become narrative? Is it 
through a concept or through the spatial qual-
ity which one moves?
 Barbara Hardy (cited in Finnegan,R 1998: 01) 
expresses the idea of narrative being an integral part 
of life by saying, “We dream in narrative, day-dream 
in narrative, remember, anticipate, hope, despair, 
believe, doubt, plan, revise, criticize, construct, gos-
sip, learn, hate and love by narrative.” By containing 
events and experiences, is architecture automatically 
narrative? 
If this idea is extended, with architecture being con-
sidered a small part of the city, is architecture simply 
one element of a larger narrative? It is only possible to 
experience architecture and the city in fragments. Is it 
possible for narration to be a fraction of a whole? Or 
is it through multiple narratives that a continuum is 
collaged together, in a similar way to the montage of 
scenes that creates a film? What in architecture takes 
the role of the piano or music as is present in film?  
David Adjaye’s public buildings have been described 
by Iwona Blazwick (Allison; 2006 pg 7) as a place 
that engages ones senses by “activating a dialogue” 
rather that causing a division. It is this engagement of 
one’s senses through materials, textures and light that 
makes one aware of the space one is in. 
I remember a simple change of texture from smooth 
pavement to rough rocks alerting me to mind my 
head on a tilted column of a building on the river-
side of Battersea, London and realise that this subtle 
gesture was a story of foreboding. It is this type of 
delicate decision that becomes like the film music 
in evoking an experience and this will be explored 
further.
13
H
isto
ry o
f F
ilm
 M
u
sic
Fig 6 - 10. Captured frames of Eisenstein’s Strike
(Source: http://www.youtube.com/watch?v=sZaL9wvyv1E&feature=related)
Film started as a silent moving image, with actions 
grossly exaggerated to convey or suggest sounds such 
as smoke from a gun being fired. In silent films the 
evocation of a sound was explored through the repeti-
tion of a image causing the sound, such as a closeup 
of the factory siren in Eisenstein’s film Strike (1925).
(Chion 2003:05) 
As films became more narrative there would be a live 
commentator in the cinema who would read a text 
that was sent with the film. This was slowly replaced 
by the subtitle or intertitle as is often seen in films 
such as Charlie Chaplin. The subtitle was also impor-
tant in providing  information to the audience that it 
was not possible to project through image only.
The first sound of cinema was the sound of the ma-
chines that projected the image, which according to 
many historians is the reason for the development of 
film music. Film music started with an orchestra or 
a one man band in the cinema complex who would 
play music they felt was relevant to the story, thus 
providing a musical narrative and an unique perform-
ance at each showing. As technology improved, vari-
ous film studios were able to synchronise sound and 
image, ‘talking’ films emerged towards the late 1920s. 
Today,  film music and film sound has developed and 
improved its accuracy with the development of tech-
nology such that films now have surround sound, and 
sounds appear to come from the part of the screen 
where the image is creating or evoking the sounds. 
In some instances the sound comes from behind to 
arouse the sense of someone or something being off-
screen but still impacting the story. 
An anonymous blogger, who had the opportunity to 
see a few scenes from the Star Wars films being re-
duced to silence and then slowly having each layer of 
sound added to the visual, stated that “each sound el-
ement added a powerful set of cues that helped drive 
the emotion and overall imapact of the scene” (Anon 
2006). But why does sound and music have such an 
effect on the visual image? There are many forms of 
film and accompanying music, from advertisments to 
television shows and the longer form of movies. It ap-
pears that music is relevant in exaggerating or gener-
ating an emotional response in all forms of film. 
14
 In contrast, our vision is limited; firstly our eyes are 
placed at the front of our head and there is a focus on 
what is directly in front of one. This is captured by 
Pallasmaa (1996:34) when he states that 
“sight isolates, whereas sound incorporates; 
vision is directional, sound is omnidirec-
tional. The sense of sight implies exterior-
ity whereas sound creates an experience of 
interiority.”
Sound can be felt as well as heard; in a club one feels 
the beat through one’s body; at a concert the rhythm 
becomes integrated in the rhythm of the body, thus 
there is an element of sound and music that allows 
for an internalization. 
Sight is done at a distance, there is no need for physi-
cal contact. Though vision can see that which one 
knows the feeling of, through the evocation of memo-
ry, a sense of texture or weight, “vision reveals what 
the touch already knows” (Pallasmaa 1996: 29)
 Thus one can understand how through the sense of 
sight and hearing one can have other senses evoked, 
which then starts to create an understanding of why 
there is so much power in the interconnection of 
music and film. 
To understand this response of emotions it is impor-
tant to understand the difference between sight and 
hearing.
There is a lot of research exploring the way in which 
the brain develops, and the effect of music on this 
development.
 The ‘Mozart’ effect is possibly the most well known 
outcome of this type of research, in which  Rauscher, 
Shaw and Ky found that undergraduate students had 
a short term improvement in spatial abilities after 
listening to the music of Mozart. 
Through a series of his own investigations Schellen-
berg illustrates that playing music in the development 
of children does enhance the development of various 
S
ig
h
t 
a
n
d
 H
e
a
ri
n
g
abilities as tested in the IQ test. One of the four no-
tions Schellenberg suggests (2005: 320) is interesting 
is the “inherently abstract nature” of music and that “a 
tune is defined solely by relational information”; thus 
a listener is able to identify a tune through patterns 
even if the playing of the tune is different due to pitch 
or speed. 
This relation to patterns could be a link to the way 
one experiences architecture.  A public space usually 
has a large volume or entrance which creates a pattern 
by which one can recognise it as a public space.
Arabin (2002: 425) cites two forms of research by 
Roederer, and Fifer and Moon which illustrate that 
“the mother’s voice has...an impact on the develop-
ing brain” and that “newborns react to the musical 
rhythms of speech”  illustrating that aural perception 
is developed at an incredibly young age. In contrast, 
vision is only developed at a later stage; a baby often 
appears to be staring into space with little recogni-
tion but responds to the sound of a familiar voice or 
sound. 
If one closes one’s eyes and listens,it is possible to 
hear many sounds, and the memory of those sounds 
and past experiences allows one to imagine the cause 
or effect of the sound. In an urban environment it is 
possible to hear a passing car, a barking dog, a siren 
of an emergency vehicle. Through sound one can 
be included in one’s surrounds, feel part of a larger 
experience. Sound has a power of imagination and 
suggestion, and works powerfully with memory of 
objects allowing one to imagine the size of a reversing 
truck or barking dog.
15
M
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Fig 12. Alberti: S. Maria Novella Florence 
(Source: Ching,1996; 298)
Fig 11. Musical Proportion as notated by Greeks 
(Source: Ching, 1996; 298)
Music was for a long time considered to be 
the discipline that is closest to architecture, 
with structure of music often being used in 
architecture and architecture inspiring music.
 The philosper Friedrich Schelling described architec-
ture as ‘frozen’ or ‘petrified music’.  (Pallasmaa, 2006: 
10) This idea of using musical structure to create 
harmony and proportion in architectural structure 
can be seen in the Renaissance period. Both music 
and architecture were related in creating harmony 
and proportion through mathematical formulae. 
The architects in the Renaissance period looked to 
ancient ideas of harmony and proportion such as 
those that Vitruvius and Pythagoras had developed.
Pythagoras used integers and found harmony in 
various ratios that integers created. There were sound 
experiments that Pythagoras did using a single string 
instrument tightened over a box. (Leopald 2005: 
171) By changing the length of the string Pythagoras 
showed how different proportions created harmoni-
ous intervals between sounds, for example halving 
the string produced an octave (a note half or double 
the pitch of the original note) hence the ratio 1:2 
whilst 2:3 produces a fifth and 3:4 a fourth.
The Renaissance architect Alberti states (cited in 
Wittkower 1945: 76) “the numbers by means of 
which the agreement of sounds affects our ears with 
delight, are the very same which please our eyes 
and our minds,” and, “We shall therefore borrow all 
our rules for harmonic relations (“finitio”) from the 
musicians, to whom this sort of numbers is extremely 
well known, and from those particular things wherein 
Nature shows herself most excellent and complete.” 
This is demonstrated in his façade design which com-
pleted the Gothic church S. Maria Novella in Flor-
ence.   However the use of Pythagorian ratios was not 
limited to the façade; in many of Palladio’s buildings 
we can see the proportions in the plans of the build-
ing as well as in the volume.     
The relation of musical proportion and architecture 
was also present in the work of Iannis Xenakis, when 
he worked on the facade of the La Tourette monastry 
whilst he was a part of Le Corbusier’s office. Through 
the use of Le Corbusier’s proportional system the 
Modular (based on mathematics of the Golden sec-
tion and the proportions of the human body) 
16
Xenakis composed a piece of music called Metastasis 
with the rhythm increasing and decreasing in ac-
cordance to the modular. (Leopald 2005: 171) The 
resultant proportions were then applied to the façade 
of the monastery.  
Following the design of the monastery, Le Corbusier 
and Iannis Xenakis collaborated with the composer 
Edgar Varese to create the Philips pavilion (for the 
electrical and media company Philips) for the 1958 
Brussels World Fair. It was a temporary structure 
with a visual projection created by Le Corbusier 
called the Electronic Poem, a piece of music called 
Poeme Electronique composed by Varese and the 
hyperbolic-paraboloid structure was designed by 
Xenakis. He used the musical composition of Me-
tastasis to generate a notation of straight lines which 
indicate the change of each instrument, a “map of 
rising and falling sounds” (Sikiaridi 2004). 
In contrast there has also been music that is inspired 
by design and built form such as the Michael Gan-
dolfi composition that resulted from seeing images 
and then later the actual garden which Charles Jencks 
and his late wife Maggie Keswick had designed: the 
Garden of Cosmic Speculation. The garden was in-
spired by another collaboration of disciplines, being 
that of science (mainly physics) and architecture.
 For example The Willowtwist  is described as “a 
shiny metallic scuplture suggestive of a mobius strip, 
except that its curves and twists are more complex. 
The music inspired by it turns back on itself, being 
twisting cyclical piece whose surface details are also 
“circular”” ( Jones 2008).
Fig 15. Philips Pavilion geomatry
(Source: http://music.columbia.edu/masterpieces/notes)
Fig 17. Philips Pavilion 
(Source: http://designwire.interiordesign.netl)
Fig 16. Philips Pavilion under construction
(Source: http://panathinaeos.wordpress.com/tag/phillips)
Fig 13.  La Tourette, Notation used in facade 
(Source: Leopald 2005)
Fig 14. Notation used for Metastis 
(Source: Leopald 2005)
17
 This is just one element of the garden and one part of 
the composition, both of which are growing;   
Gandolfi suggests that he will continue to add to the 
composition as long as there are additions to the 
gardens. 
There is a large exploration in the idea of architecture 
influencing music and the exploration continues into 
ideas of city sounds. A recent exhibition at the 2011 
Milan Design Week had a musical device designed 
by Akko Goldenbeld called ‘Stadsmuziek’ (meaning 
City Music). Goldenbeld created a scale model of 
Eindhoven on a cylinder that when turned caused a 
set of hammers to play the keys of a piano, thus the 
city becomes the pianist. The resulting sound, though 
not always harmonious, suggests that the city not 
only has its own aural experience (cars, people talk-
ing, sirens) but that it can, through three dimensional 
Fig 18. The Willowtwist
Fig 19 -20. Stadsmuziek
(Source: http://gerryco23.wordpress.com/page/7/)
manipulation, be an aural experience. (Anon 2011) 
It is an interesting representation of the texture and 
diversity that can be experienced in a urban setting. 
Similarly it is understood that music has developed as 
a result of the space that it occupied: Holl describes 
that Gregorian chant as a development of music is in 
response to the large interior spaces with its very hard 
flat materials that were prevalent in medieval church-
es. It is only in the tone of the chant that sound can 
be successfully carried to all that occupy the space. 
More recently David Byrne (2010) also believes that 
it is architecture that has resulted in the development 
of music; the size and quality of space that has im-
pacted the development of contemporary music from 
punk to ‘stadium’ rock. 
(Source: www.designboom.com)
18
that they have been integrated since the 1920s where 
the city was often a subject of films or was an impor-
tant part of the films’ story. This can be seen in films 
from that decade such as Metropolis (Fritz Lang, 
1926) and more recent films such as Lucky Number 
Slevin, City of God, Matrix and Bladerunner. 
The city and architecture is an important part of 
film, often providing the backdrop to a story and 
becoming an integral part of the film. Film creates a 
cultural archive of the era in which it was made and 
of the subject that it depicts. This often changes one’s 
perception of a space, building or city. What we see 
and place in our imagination in a film alters the reality 
of a place for example what one sees of Paris in a film 
is often different to that which one experiences when 
visiting Paris. 
“since the beginning of the 20th Century... the 
screen... became the city square.” (Paul Virilio 
cited in Bruno pg 18) 
Thus film can be seen through its consumption to 
become something more, a space that goes beyond 
function and can provide place for human interaction 
and behaviour like that found in a city square.
Eisenstein (cited in Vidler 1993: 56) suggests that the 
variation between film and architecture is that in film 
“diverse impressions (are) passing in front of an im-
mobile spectator” whilst in architecture “the spectac-
tor (is) moved through a series of carefully disposed 
phenomenon which he absorbed in order with his 
visual sense”. Thus movement can be considered 
important in the metaphor of film, music and archi-
There are many opinions that cinema is possibly 
more related to architecture. Pallasmaa suggests that 
both disciplines,  film and architecture, 
“articulate lived space” and that “they create 
experiential settings and frames for situations 
of life”.  Where “lived space” is considered to 
be a  combination of experiences of external 
space and the memory of space and experi-
ence, a mental space of memory and dreams, 
fear and desire; and inner space of being.  
Bruno (2007) agrees, pointing out that both architec-
ture and film are “practices of space.” He also states 
that the city and film are a modern production and 
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tecture. Movement or a route through a building can 
thread different functions together, or can separate 
users, possibly causing intrigue or tension, evoking 
emotions through an experience or allowing for the 
“major role of narrative (being) in organising our 
knowledge and our experience.” (Finnegan 1998: 01)
Both architecture and film are narrative and cap-
tured in a sequence,  a montage of multiple frames 
and compostion of juxtaposed elements. One can-
not see the whole in one instant, only a fragment is 
visible and exposed; through the exposure of many 
fragments one is able to interpret the story or build-
ing as a whole. Yet a building is not experienced as 
an individual isolated item but rather as a part of its 
context or the city continuum. “Our experience of a 
city can only be, however, perspectival, fragmented, 
incomplete. This experience... consists of partial 
views through urban settings.” (Holl 1994: 48)
Films have always been as a result of the incorpora-
tion of many art forms and skills. It is a discipline that 
draws from many people and ideas.
 “It was poetry that invented the technique of mon-
tage, not Eisenstein” (Brodsky cited in Pallasmaa 
2006: 01). Pallasmaa explains that cinema is an amal-
gamation of narrative structures (such as in litera-
ture) with a visual expression and auditive means that 
evokes the sensations of movement, touch, smell and 
taste. He contrasts this to architecture which is also 
a result of immense collaboration despite the author 
of an architectural project’s idea often being a single 
person. 
Pallasmaa (2006:2)suggest that architecture is also an 
impure art that fuses the material language of space, 
matter, structure and light with an emotive use of all 
the sense and not solely vision. Raymond Durgnat 
(cited in Pallasmaa 2006:2) suggests “its essence is 
that it (cinema) makes them interact, that it inte-
grates other art forms, that it exists ‘between’ and 
‘across’ their boundaries.” Considering the impor-
tance placed on the intersection and interaction of 
different disciplines, there must be value in looking 
at whether architecture can be enhanced in the same 
manner as film is by music, and what will create this 
enhancement?
20
To try and grasp how music can influence a film, I am 
going to look at two films which use music very differ-
ently and the nature of the experience when watching 
them. 
Firstly City of God, in which the story follows a boy, 
Buscape, who is growing up in the housing project 
outside Rio de Janiero. The film starts with Buscape 
caught between the violent gangs that have grown 
and seem to run the ‘City of God’. The film then 
rewinds through time to explain how this point of 
‘standoff ’ was reached. The film is predominantly set 
in the City of God. 
Buscape is responsible for narrating the story, which 
is told through a series of his memories and his de-
scription of the people who live in the city and their 
roles in the city. The opening scene is full of sounds 
and music evoking a very busy city experience: the 
sound of a knife being sharpened creates a tension in 
which, as the viewer, one is aware of something vio-
lent going to occur. The music is again narrative and 
in the first viewing of the film very unassuming.
However, as Spande suggests, it appears that it is im-
possible to stay enraptured in the film if one notices 
the music (in the sense of noticing if it is beautiful). 
“The music must disappear from the field of its own 
effects in order to work.” (Spande 1996) Perhaps this 
is the strength of the music and sound that  is real-
ised in “City of God” . It remains in the background, 
creating a local context with music that sounds like it 
comes from the area; it creates a feeling of routine and 
passing of time through the narrative. Many times it is 
very sombre, creating a tense atmosphere that relates 
strongly with the image or storyline of the moment, 
for example when Ned goes after his wife’s murderer 
there is a fast drumming, creating a build up of ten-
sion and drama that is appropriate for the situation.
The film explores many different spaces of the ‘City of 
God’, starting off with the very sterile rows of match-
box houses with public space of the rectilinear streets 
dominating the layout. A small cafe and a soccer field 
dominate as the place where people interact, with 
children spending lots of time at the soccer field. As 
the story continues, the city grows vertically, creating 
a very different space with many narrow and winding 
paths or roads between buildings. In many ways the 
city seems to produce more intimate spaces. Path-
ways, stairs, corridors all create subtle thresholds with 
the flats and homes remaining private spaces which, 
in the film, are shown to often be host to illegal drug 
trade. In the opening scene, it seems that a meal is 
under preparation on a balcony, with many people 
taking part suggesting the public nature of everyday 
events.
City of God  uses of the technique of montage to 
condense and link images to narrate the story or 
event (such as the ‘standoff ’) quickly. Montage 
which comes from the French verb monter, mean-
ing to assemble, is a method of composing multiple 
images together to illustrate an idea or many ideas. 
This juxtaposition creates an understanding of many 
events occuring at once or many thoughts being 
experienced by the character in the story and thus the 
director wants to allow the spectator to understand 
the complexity.
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Fig 21. City of God Poster
(Source: www.imdb.org)
21
Kill Bill probably represents the idea of montage 
best as montage is extended to the music and is not 
simply visual. The music raises a completely contrary 
emotion to that caused by the action that is occuring 
on the screen. The film follows the story of revenge 
of an assassin who was shot by her boss on the day 
of her wedding. She awakens from a coma five years 
later and starts a path of revenge on those that she 
had worked with who betrayed her in following her 
boss, Bill’s instructions. The story moves all across the 
world, from America to Tokyo, from suburban life to 
one in the city. There are, as one would imagine with 
the story line, many incidents of fighting and incred-
ibly gruesome killings. The visuals of chopping limbs, 
heads, and shaving of a scalp are horrific and incred-
ibly physical in the feeling that one is left with as the 
spectator.
However, the music is important in lulling or calm-
ing  the spectator. It is music that was created for a 
popular market before the making of the film, and 
is generally upbeat and is completely contrasting to 
the horrific actions one witnesses. As a result of the 
music not being specifically composed for the film, it 
also seems to date the film. The music plays before a 
fight breaks out, and then reduces to sounds evoking 
the movement of the fight or instruments used such 
as swords, and the music then starts again as the fight 
is completed. This break of rhythm creates a different 
structure or tempo within the film, creating an uneasy 
feeling or builds up a sense of dread or fear that the 
terrible occurrence is going to occur. 
There is a piece of music that is played when the 
‘Bride’ character sees any of the assassins on whom 
she is taking her revenge. This music is played at the 
same time as a montage of images is flashed, showing 
that person’s role in the attempted assassination. This 
ties the characters of the story to their actions and 
creates a sense of repetition and perhaps a different 
sense of rhythm, one that suggests an inevitability. 
The common elements in music and film are time 
and movement, which both have spatial qualities 
and result in a rhythm, a sequence of experience. The 
music could be seen in many instances as the element 
that keeps a rhythm or ensures a flowing narration, it 
paces the film. 
In Winter’s Bone there is very little music, which, 
considering the subject matter, is fitting. A child is 
looking for her father in rural America where crystal 
meth has caused a family and community rift that en-
dangers the child. Despite the lack of music at many 
times throughout the film causing a discomfort that 
was appropriate to the storyline, the film was static 
and often felt as though it lacked a rhythm or pace.
Fig 22. KillBill Poster
(Source: www.imdb.org)
22
Rhythm and pace are important in architecture. 
Buildings are experienced through movement, and 
thus rhythm is important to how one uses or sees a 
building. 
“A building is encountered; it is approached, 
confronted, related to one’s body, moved 
through, utilised as a condition for other 
things. Architecture directs and frames behav-
iour and movement. “
(Pallasmaa 1996 pg 42) 
Steven Holl took the idea of rhythm and musical 
notation by translating the musical notation of Bela 
Bartok’s Music for Strings, Percussion and Celesta. 
He used the contrasting sounds of the instruments to 
contrast materials used in the building. Loud sounds 
became heavier materials, the more solid parts of the 
building, whilst softer sounds were lighter.  
 Holl has also experimented, as have many architects, 
with the idea of rhythm being created through the 
experience of light, or the change of light as the day 
continues. Natural light is an amazing phenomenon 
which always makes one feel part of a larger oc-
curence. Holl’s design for D.E Shaw and Co’s offices 
in New York used reflected light to show the change 
of the day. He used coloured glass through which the 
light passed and caused various projections which 
changed in their saturation with the passing of time. 
This links the user of the building to the external situ-
ation and climate change, thus always allowing for an 
experiential quality.   
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Fig 24 -25. Holl DE Shaw Office
(Source wwww.steven holl.com)
Fig23. Holl Stretto House
(Source: wwww.steven holl.com)
23
The twelve soundbarrier houses in Diependaal by 
VHP architects in the Netherlands is possibly an ex-
treme case of different movement being experienced 
as the houses are backed onto a main freeway where 
cars drive past at an incredible speed and would only 
notice the barrier for a fleeting moment, whilst the 
residents will experience their houses not only as 
they approach by car or bicycle but also as they walk 
through them at a much slower rate. 
The Wall Shopping centre in Utrecht by VVKH ar-
chitects is a similar example,hough more public, of a 
place that is experienced at very different pace.
“Rhythm refers to any movement characterized by a 
patterned recurrence of elements or motifs at regular 
or irregular intervals.” (Ching 1996 :356) This pattern 
if experienced by the body (as opposed to the eyes) 
is as a result of the organisation of a building or space. 
Fig 26 -27. The Soundbarrier Houses
(Source: www.archrecord.com)
In the book  Form, Space and Order, Ching looks at 
various elements that are considered important to 
architecture. In terms of movement and organisation 
the way in which space is organised is important. 
There are various ways of organising ranging from 
linear to radial or a grid, however it is perhaps in the 
linear organisation with movement along an axis that 
a sequence of space can be understood to be framed 
almost in a narrative means similar to that experi-
enced in film and music. By linking spaces along a 
thread it is possible to accentuate certain aspects, 
allowing for a hierarchy to be easily legible. Hierarchy 
is important in film in order to understand the impor-
tance of characters. There is also the possibility of the 
threaded spaces allowing for access to the outside.
A closer collaborative space is often designed with a 
‘street’ like structure so that each person has a space 
Fig 28. Organisation of linear space 
(Source: Ching, 1996)
Fig 29. McKinsey &Company Hong Kong Office
(Source:http://www.archdaily.com/141823/mckinsey-compa-
ny-hong-kong-office-oma/)
to suit their requirements whilst common areas give 
the opportunity for collaboration. This change of 
hierarchy within the office space allows for more 
flexibility in an industry that is changing and improv-
ing with technology and thus regularly having new 
requirements. 
This street idea can be seen in projects such as McK-
insey & Company Hong Kong Office by OMA. The 
inspiration is a barcode and the space is divided into 
linear layers with a central area providing common 
areas for all the staff, thus creating a space which pro-
motes interaction between staff members.
Closer to home, in the Velocity Film Studios in Rivo-
nia, Jo Noero designs the film production headquar-
ters along a wide corridor that is lit from above and 
has all the rooms along it opening into  the corridor, 
“gathering all the spaces in the building into one, 
24
large social space.” (Sorrell (ed) 2009; pg 61)
Holl suggests that “our perception develops from 
a series of overlapping urban perspectives, which 
unfold according to angle and speed of movement,” 
and that it is impossible to list all these perspectives 
as there are too many possibilities and that no single 
view can be complete. Perhaps it is this that makes 
montage a relevant idea to architecture, as it allows 
for the ‘overlap’ of space and ideas which are revealed 
through movement. 
Tschumi is considered influential in looking at 
montage as a technique for developing architecture 
which allows for the collision or montage of events or 
activities. “For if architects could self-conciously use 
such devices as repetition, distortion or juxtaposition 
in the formal elaboraton of walls, couldn’t they do 
the same thing in terms of the activities that occurred 
within those very walls?” (Tschumi 1996:146) 
Through the Manhattan Transcripts Tschumi de-
velops ideas of how to notate events and activities  
that occur within space, he uses ideas from film in 
which he reduces an event (a murder) in a park to a  
sequence of framed events and then to a series of dia-
grams of movement that were derived from choreog-
raphy notation and the event. Thus the ideas of space, 
event and movement are important in the dialogue 
that Tschumi creates. 
Tschumi believes that “a park is a site of production 
and consumption, but of social behaviour rather than 
objects” (Hill 2003: 78). This relates to the ideas of 
events being important in creating a space or series 
Fig 30-31 Velocity Film Studios
Interior Corridor  and Axonometric
(Source: Sorrel, 2009; 61)
Fig 32. Tschumi’s Manhattan Transcripts
(Source: Tschumi, 1994)
Fig 33. Tschumi’s Le Fresnoy National Studio for  
Contemporary Dance
25
of spaces that are used for a series of events or func-
tions. In considering the event, Hill suggests that to 
consider the user of a building is important in design-
ing space that allows for disjunction as suggested by 
Tschumi. Disjunction is understood in these terms as 
“intentional or accidental appropriation of a space for 
a use for which it was not intended” (Hill 2003:84).
In allowing users to react to architecture, Hill consid-
ers the importance of flexibility that will allow for the 
most possible functions to be catered either through 
movable elements such as found in the Rietveld 
house  or through what he terms ‘spatial redundancy,’ 
where the space is large enough to house various 
uses. Using ideas from Hertzeberger, Hill suggests 
that polyvalence be a different approach to allow for 
multiple events to occur as the space is able to be 
interpreted in many ways such as in Hertzberger’s 
design of a central space in a kindergarden school that 
allows for a podium to be used at assemblies and to 
be used in spontaneous play by the children. Hertz-
berger expresses  these ideas (cited in Hill 2003:45) 
by stating that “if we want to respond to the multiplic-
ity in which society manifests itself we must liberate 
form from the shackles of coagulated meanings. We 
must continuously search for archetypal form which, 
because they can be associated with multiple mean-
ings, can not only absorb a programme but can gener-
ate one. Form and programme evoke each other.”
These ideas are continued by other architects such as 
Rem Koolhaas who by using routes in the Rotterdam 
Kunsthal allows the user to create their own journey 
or path through the building by using what he de-
scribes as a ‘continuous circuit’. The ramp has a spatial 
redundancy that allows for various events to spill out 
of the designated spaces. In the design of Le Fresnoy 
National Studio for Contemporary Arts, Tschumi 
has also allowed for programmed space as well as a 
gap or ‘in-between’ space that allows for spontaneity 
and different functions in alignment with his ideas of 
disjunction.
Thus ideas of montage that lead to cross program-
ming can allow for diverse multipurpose spaces creat-
ing new experiences for the user; these experiences 
should be more than simply functional. “Beyond the 
physicality of architectural objects and practicalities 
of programmatic content, enmeshed experience is 
not merely a place of events, things and activities but 
something more intangible, which emerges from the 
continuous unfolding of overlapping spaces, materi-
als and detail.” (Holl 1994: 45) 
Through looking at film and music and ideas that 
relate to architecture it is possible to find ways to en-
hance the experience of space. “Whereas architecture 
fuses the material language of space, matter, structure 
and light with an emotive use of all the non-visual 
senses, cinema amalgamates narrative structures 
with visual expression as well as auditive and musical 
means with ideated sensations of movement, touch, 
smell and taste.” Pallasmaa (2006; 2) The ideas of 
phenomenology illustrate that an experience is un-
doubtedly affected by our senses which are impacted 
through spatial continuity and orientation, the result-
ing light quality, forms, textures and sounds. These all 
result from the enclosing (or lack thereof) of space. 
The method of enclosing space is influenced by scale 
and proportion which is affected by one’s perception 
of music. Thus it is possible to translate something as 
ephemeral as music into a built form.
The way in which space is used also has relation 
to film as shown through the use of montage and 
crossprogramming. Through collaboration it has 
been possible to develop new ideas in music and film, 
and thus there are possibilities in creating new spaces 
through the interaction of film and music production 
as well as intersecting it with a public space to create a 
complex new space. 
Ideas of rhythm and narration can be produced in 
architecture by considering movement as a means for 
one to experience a place. The emotional occurrence 
of a film that is heightened by music can be interpret-
ed into the design of space and building, creating a 
place for experience and not simply function. “Space 
changes with the movement of the sun, place changes 
with the movement of human beings.” (von Meiss 
1993:135)
26
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Enhancing the experience of space. 
Film and music are both a composition of parts, a 
montage that tells a story, and through an exploration 
of the theory and the nature of the site it is possible 
to develop some ideas into architectural strategies or 
gestures. Through the exploration of ideas in drawing 
and model making this thesis is going to investigate 
how to create a heightened experience of a place, (A 
place allows for social interaction within a space as 
well as an interaction with the spatial structure or 
building.) so as to lead to an architecture that is less 
bland and predictable. 
The idea of layering became a strong strategy from 
both music and film and can be articulated in many 
architectural ways that would lead to and enhance 
experience.
Layered organisation can articulate a sequence of 
events.  A sequence of events occupies the inter-
est of a visitor and a visual sequence will intrigue a 
passerby. The creation of a sequence can be done 
through spatial changes or a series of artistic installa-
tions that involve the visitor directly engaged with an 
event.
Circulation running parallel to the layers becomes a 
layer itself and amplifies the length of the building.
Public access to the building to be orientated across 
the layers exaggerates the permeability of the build-
ing
and how the building addresses the street edge by 
pulling visitors through into the building and allow-
ing for a transition from city to nature. 
The positioning of programme in layers creates a 
hierachy as well as an opportunity for an experience 
through the movement of a journey.  This movement 
allows a story to be unfolded through the experience 
of the space, which feeds the idea of narrative that is 
inspired by film and music.
Layers are also important in creating a threshold 
which through texture, sounds, surface or stepping 
can engage a visitor and make sure that, for example, 
the entering of the building is a special occurence.
The use of juxtaposition exaggerates a feeling. Solid 
vs light, tall vs short, thick vs thin, dark vs light,  quiet 
vs noisy, smooth vs rough, warm vs cold, a change of 
rhythm or pace: the experience of one will make the 
experience of the other more noticeable.
27
Enhancing Social Encounter
This thesis proposes to make a film and music centre 
that adds to the quality of the industry through col-
laboration within the industry and through collabora-
tion with the public through film literacy. To do this 
it is important to consider how one can enhance the 
social encounter, and create a building which allows 
for public encounters, be they planned or chance 
encounters.
The promotion of movement through the site so as to 
link it to the area immediately surrounding it is one 
way in which social interaction may occur. The design 
of an environment that allows people to connect 
visually and physically is important in encouraging 
encounters to occur.
Some of the strategies that would allow this to occur 
are :
Multiple stacked layers that are shifted, create a split 
level that deals with the change of hieght across the 
site and promotes connection visually and physically 
through ramps and stairs. 
The anchoring of the north and south part of the 
building generates an active interior as either end is 
connected through movement, which threads both 
function and user. By containing uses within a pro-
grammatic box it causes the users to interact in the 
space between. 
A central band or path which promotes interaction of 
users and of  spaces on either side of the band allow-
ing for unintentional collaboration Functions be-
come threaded like a narrative links ideas in a story.
28
C
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se
 S
tu
d
y 
K
u
n
st
h
a
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- 
O
M
A
“Flexibility is not the exhaustive anticipation of all 
possible changes. Most changes are unpredictable...
Flexibility is the creation of a margin – excess capac-
ity that enable different and even opposite interpreta-
tion and uses.” (Koolhaas cited in Hill 2003, pg 36)
The Kunsthal is a cultural centre in Rotterdam 
designed by OMA. It is situated on the top of a dike 
with the a busy highway to the south of the build-
ing and on the lower and northern side the Museum 
Park. It can be seen to serve as a gateway to Rotter-
dam’s cultural neighbourhood. 
The building was seen to be a place of intersection, 
much like a public square. It has two routes which 
intersect the spaces creating a division whilst simul-
taneously joining spaces,  through visual connections 
and the movement of a visitor. The one route is a road 
that cuts through the east west axis of the site, whilst 
the wide pedestrian ramp slopes from the higher 
southern side of the site to the lower Museum Park in 
the north. The route forms a continous spiral which 
links the divided building and creates the contradic-
tory experience of a building carved with movement 
routes with continously connected spaces.
The ramps serve as the primary vertical circulation 
through the building. There are two ramps, one 
which is split by a glass wall separating the inside of 
the building from outside linkage between north and 
south, the second ramp runs in the opposite direc-
tion parallel to the first and is terraced in order to 
accommodate the auditorium. The entrance to the 
building is in the middle of the building where these 
two ramps meet, giving a visitor a choice of where 
to go: to the auditorium or to proceed down the 
ramp onto the park or continue up to the highway 
or, on the  inside of the glass wall of the same ramp, 
one continues to the exhibition halls. The ramp 
from the second floor to the roof garden cuts the 
building at an angle, adding to the dynamic nature 
of the project, which is further enhanced through 
the structure of angled columns that appear to be 
unaligned and ad-hoc so as to increase the experi-
ence of the building “with its schisms, interior slips 
and jumps” (Balmond, 2002 Pg99).
The building plays with the idea of visual connec-
tion through the different levels and halls having 
transparent or translucent material dividing it. 
For example on approaching the first hall via a 
stairway the view is obstructed with a landscape 
of columns. Thus the building plays with an aspect 
fluidity. 
“A ramp is a luxury. It travels through time, col-
lecting moments of arrival and departure, its line 
through space touching all parts and mixing adja-
cencies” (Balmond, 2002 pg101).
Fig 34. The entrance to the Kunsthal
(Source: www.oma.eu)
29
Tools learned
Movement can add to the experience of a building 
as it gives the visitor the flexibility to construct their 
own journey.
Visual connection can entice one into a space while 
physical obstruction causes one to want to seek the 
space in a denial/reward system.
A strong public movement that links two spaces adds 
to the dynamic nature of a building
Fig 35. Section of the Kunsthal, highlighting the 
ramps
(after Balmond 2002: 10)
Fig 37. Slope of Auditorium with restaurant below to 
the right of the image and to the left the ramp to the 
entrance of the building
(Source: www.archdaily.com)
Fig 39. In elevation can see the dynamic nature of 
the ramps and the service road that  cuts east west 
axis
(Source: www.oma.eu)
Fig 38. Ramp divided by glass
(Source: www.oma.eu)
Fig 36. The Kunsthal Ramps
( Balmond, 2002: 110)
30
C
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 S
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y 
  
C
h
e
o
n
g
ye
ch
e
o
n
  
  
  
  
  
  
  
  
  
  
R
iv
e
r 
R
e
n
e
w
a
l
The Cheongyecheon river runs through Soeul. By the 
1940s it had become over-populated with a shanty 
town around it and in order to rid the pollution 
the river was covered. Civil unrest and the Korean 
War meant that the project of covering the river 
was abandoned with full scale work of covering the 
stream only occuring between 1967 and 1976 when 
the elevated highway was built, covering over 5km of 
the river.
An urban renewal project was started in 2003 to 
remove the highway and to restore the river. A new 
bus rapid transport system meant that the use of the 
highway was no longer pivotal to the movement with-
in the city. The river has become a new social part 
of Seoul that connects the north and south parts of 
the city, previously divided by the elevated highway. 
It has become a well used green public space right 
in the middle of the city with many urban gathering 
spaces along the length of the river and it has encour-
aged walking within the city.  “A green river park that 
beautified downtown Seoul and gave its residents a 
spectacular setting in which to walk, splash, linger, 
and truly enjoy the city.” (Rao 2003)
Shop owners were originally threatened by the 
removal of the highway as they were fearful that the 
removal of cars would remove their business. How-
ever, since the renewal of the green space properties 
have tripled in value and the high pedestrian move-
ment has helped shop owners. It has also been noted 
that the temperatures in the area have reduced by as 
much as 10 degrees and that the “urban heat island” 
effect is diminishing, making Seoul a more comfort-
able place to be.
The imagery from the renewal project shows how 
beautiful the place has become and how people have 
populated it, making it a successful project that has 
brought some nature into a dense city.  The contrast 
of  nature and architecture can enhance the experi-
ence of each other through their contrasts such as the 
light and texture. 
The river itself has been controlled through the pos-
tioning of slowing devices such as stones which also 
serve as stepping stones, allowing people to cross it 
and changing the sound of the river which adds to the 
atmosphere of the areas. At points the river is slowed 
sufficiently to allow people to splash within it. There 
are also bridges reinforcing the link between the two 
sides. By being below the city level it is imaginable 
that one can forget that there is a major city around 
the river. The edge of the river has been adapted to 
allow for people to walk, meander or take a moment 
to sit and enjoy the nature. There are raked seating 
and gathering areas that provide space for events and 
celebrations to occur. Lighting makes it a safe space 
no matter the time of day.
Public space is most often successful when there is 
some form of ‘urban buzz’ that is created through ani-
mation and activity. If a passerby sees something that 
looks exciting they will either enter the building or 
tell friends that they want to do so. Jane Jacobs argues 
in the book “The Death and Life of Great American 
Cities” that by bringing people onto a street there 
is the creation of the idea of vitality and animation. 
(1961: 378) Seoul  Cheongyecheon River illustrates 
that vitality and animation can be created along a 
street of water.
Fig 40. The Highway
(Source: http://landscapeisdeb.blogspot.com/2010/03/focus-
seouls-cheonggyecheon-stream.html)
31
Tools learnt
Though the Braamfontein Spruit that is the bound-
ary to my chosen site is many times smaller than 
this project it is the idea of creating a space along a 
natural source to enhance the area in which it is and 
the occupants of the area that is inspirational and of 
relevance to this thesis.
Fig 41 -48. The River after renewal
(Source: http://landscapeisdeb.blogspot.com/2010/03/focus-
seouls-cheonggyecheon-stream.html)
32
C
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T
E
X
T
C
h
o
o
si
n
g
 a
 s
it
e
In order for a film and music centre to be success-
ful in spreading literacy and creating a forum, it is 
necessary to situate the building in an area where the 
programme will be visible and where  a dynamic flow 
of people through the area ensures exposure to the 
centre. It is important that the building should add to 
the functions that already occur in the area.
“The Johannesburg TV and film industry are gravitat-
ing towards a convenient central node. “ (Gimpel, 
2011) 
This node is driven by the trend to be near the 
national broadcastors, the SABC who are situated in 
Auckland Park and other industry facilities in the area 
of Auckland Park, Melville and Braamfontein Werf. 
The broader area of Melville, Auckland Park and Brix-
ton is home to many actors and artists. (Green, 2011)
 Artists are often at the forefront of enjoying new 
places and events as can be seen with the succes of 
the Maboneng district (Bioscope, Arts on Main) 
which has now expanded into attracting a wider audi-
ence circle. Thus the value of an artistic community is 
important in the development of a creative hub that 
serves both working and entertainment value.
The presence of the University of Johannesburg’s Fac-
ulty of  Art, Design and Architecture and the nearby 
main campuses of University of the Witswatersrand 
as well as the private South African School of Motion 
Picture Medium and Live Performance  (AFDA) 
has meant that there are many students in the area, 
especially with a recently completed apartment block 
on the corner of Empire Road and Barry Herzog.  
Students are the perfect vehicle for expanding film 
literacy as they are usually in a position where they 
want to expand their knowledge and experience base 
and are thus open to new things. By capturing the in-
terest of students it is possible to reach a larger circle 
of society as the students share their experiences with 
family and friends.
SABC
33
Production
Consumption
Education
COTTESLOESABC
UJ FADA EGOLI 
GASWORKS
WITS
VREDEDORP
BRAAMFONTEIN 
WERF
AUCKLAND PARK RICHMOND
PARKTOWN
Fig 49. Map of film and 
music within a kilome-
tre radius of SABC
(Source: Map from www.
joburg.org.za
Mapping author’s own)
34
Braamfontein Werf  can be seen as an area with many 
potential linkages. Not only does it sit along the 
academic arc within the city of Johannesburg (Dewar, 
Louw & Urban Solutions 2009) it is situated between 
the Braamfontein train Station and Parktown, the 
start of the northern suburbs. The variety of uses 
and variety of residential income areas surrounding 
it place it in a position to become a major mixed use 
node and to become a zone of integration. (GAPP 
Architects and Urban Designers, 2010) This node has 
already begun to develop as Braamfontein Werf is an 
area that has undergone many changes in the past 10 
years, with renewal projects of various spaces trans-
forming an old industrial area into a thriving creative 
hub. 
The transformations  include that of the rundown 
abandoned Atlas Bakery into the Atlas Film Studios, 
housing film and television studios, by Jonathan 
Gimpel. He is also responsible for the Media Mill on 
Quince Road with its variety of creative users ranging 
from architects, film makers, advertising and graphic 
design. Next door is the 44 Stanley complex, in which 
Brian Green has converted eight office buildings into 
a mixed  use complex with offices and retail, both 
shops and restaurants. The negative space between 
the buildings becomes an internal courtyard system 
that is continuously used with a few restaurants and 
retail spaces flowing into outdoor space, allowing 
consumers the opportunity to capitalise on the beau-
tiful climate that Johannesburg experiences.
 Brian Green sees the area as a “stepping stone for 
people to get back into the city., (Davie, 2003) partic-
ularly with changes and growth of culture occuring in 
Braamfontein. This idea is obviously shared by Ricci 
Polak who is responsible for the development of the 
old Chubb headquarters and two adjoining office 
buildings into 29 loft apartments called the Refinery. 
This means that the area is truly mixed use with the 
opportunity to work, play and live in the area. 
However the play aspect is predominantly that pro-
vided by the 44 Stanley complex which is not really 
in the spending range of an average student. There is 
a Pick ‘n Pay store and a few chain restaurants across 
the road from 44 Stanley and the recent addition of 
a Virgin Active gym has added to activities that are 
possibly more financially accessible to students. Thus 
the area lacks an entertainment aspect for the stu-
dents who live in the area, resulting in their travelling 
to nearby Braamfontein, Newtown or north towards 
the malls such as Killarney and Rosebank. 
As the area is predominantly refurnished or redevel-
oped buildings it allows for a new building to make 
a mark and define the area. Thus the addition of a 
film and music centre would be suitable in this area 
and would form a gateway to the creative hub that 
has developed in the area for both people involved 
in industry and for public users. The public add a 
new complexity to the programme that would also 
hopefully mean that new forms of collaboration and 
inspiration can occur within the centre and allows the 
expansion of film literacy.
Fig 50 - 57. The materials of some of the surrounding 
buildings
(Source: author’s own)
35
1
2
3
4
1 VOVO TELO BAKERY
AFDA
GALLERY AOP
REFINERY LOFT APARTMENTS
ART ON PAPER
MEDIA MILL
BOAT COURTYARD CAFE
IL GIARDINO DEGLI ULIVI
BEAN THERE
VINTAGE COWBOYS
VENDAGE FOOD WINE OLIVE OIL
IMAGINE NATION HARDWARE
LA BASSE COUR FRENCH WARE
CRAFT UNLIMITED
TIN TABLE FURNITURE STORE
SIRKEL JEWELLERY
SALVATION CAFE
2
55
4
3
6
6
7
7
8
8
9
9 10
10
11
11
12
12
13
13
14
14
15
15
16
16
17
GLAMASPHERE CASTING AGENCY18
CURIOUS PICTURES19
ATLAS STUDIOS20 
20 
17
17
18
19
Fig 58. Map of immediate functions in area of cho-
sen site
(Source: author’s own)
36
U
R
B
A
N
 F
R
A
M
E
W
O
R
K A recent proposal by GAPP Architects and  Urban 
Designers has shown that there is more interest in 
expanding this mixed use node through a develop-
ment on the Egoli Gasworks site, which extends from 
Annet Road in the south to Owl Street in the north. 
The first draft for this precinct plan was presented 
in March 2010.  GAPP’s vision is for the proposed 
development is the create a new
urban node with mixed land use, medium to high 
density built environment that is integrated with the 
open space on the site. 
GAPP’s aim is to position the development as a 
mixed use node to
achieve a “secure, work, live, play, shop precinct’ that 
includes:
- Niche & Lifestyle / Leisure Retail.
- Boutique Hotel.
- Offices
 (institutional, professional, creative art etc.)
- Apartments 
(middle-upper income & student).
- Education/Training 
(IT, UJ/Wits links, Private Colleges).
Hi-Tech 
(IT, Film / Publishing/Advertising & Creative)
These aims are in align with the rest of the develop-
ment that has occurred in Braamfontein Werf with 
the renewal of Atlas Studios, the Media Mill and the 
Refinery.
The eastern portion of the site is set out to be a recre-
ational park space and the wetland area, tapping into 
the Braamfontein spruit piped beneath, and through 
landscape interventions dealing with the contamina-
tion of parts of the land which make in inhabitable 
though Environment experts are monitoring it and so 
far it has not seeped into the Braamfontein spruit and 
thus is possible to reuse through landscape interven-
tions.
This idea of a green space fits in with the Wits 2009 
Urban Framework by Ludwig Hansen, Piet Louw and 
Dave Dewat. This framework suggests the expansion 
of Wits University occuring as infill projects and that 
there is a link to the city through the green system 
such as the green land. The Wits University precinct 
plan  proposes to connect with its a city wide trans-
port which creates an opportunity ito use the Braam-
fontein Spruit between Wits and the Egoli Gaswork 
Precinct site as a natural recreational pathway for 
bicycles and walkers, thus further enhancing the area 
and its opportunities.
This is of interest to this thesis a s the Braamfon-
tein Spruit is the eastern border of the chosen site. 
As the function of the Centre is one that caters for 
public and the centre aims to act as a gateway here is 
an opportunity for it to do so. The start of a recrea-
tional pathway can occur at the Centre and make its 
way past Atlas Studios, AFDA, various film related 
companies such as Curious Pictures and along to the 
University of Witswatersrand. 
37
Fig 59. Urban Framework for Egoli Site by
GAPP Architects and Urban Designers
(Source: Egoli Gas Precinct Plan for Mixed 
Use Development 2010)
Chosen Site
E
goli G
as P
recinct P
lan
 
G
A
P
P
 A
rchitects and U
rban D
esigners
Fig
ure
 28: The
 V
isio
n
N
ovem
ber 2010
39
38
10 50 100
200
F
ig
u
re
 G
ro
u
n
d
The figure-ground of Braamfontein Werf and its 
immediate surrounds shows how the area is an area 
caught between spaces, with the western areas of Cot-
tlesloe and Richmond having a  more rectilinear grid 
layout with a more dense configuration in contrast 
to the east and south where the institutions of Wits 
University and UJ FADA Campus are more spread 
out with more open spaces.
Chosen site
Fig 60.Figure Ground
39
1 Storey
2 -3 
4 -6 
7 - 9
10 -12
Proposed Sites
10 50 100
200
S
u
rro
u
n
d
in
g
 H
e
ig
h
ts
The majority of the buildings within Braamfontein 
Werf and surrounding areas are low rise with many 
only two or three storeys. The taller buildings are 
clustered together and are situated close to the large 
road intersection of Barry Herzog Avenue and Em-
pire Road. These taller buildings are predominantly 
office blocks, with the new apartment block  on the 
corner of these two main roads being the tallest resi-
dential building in the area. 
Chosen site
Fig 61. Heights
40
M
o
ve
m
e
n
t
The movement in the area is predominantly vehicu-
lar movement, particularly with the main roads of 
Empire Road and Barry Herzog Avenue so near by. 
The M1 highway is easily accessible and minutes 
away whilst Newtown is minutes away to the south 
of the site. However the high level of students and 
scholars means that there is a lot of pedestrian move-
ment through the area, with several modes of public 
transport being accessible nearby .This movement is 
seldom leisurely movement rather to catch transport 
to and from the area. The narrow pavements make it 
difficult to linger. The high movement of people walk-
ing in the area does mean that it is possible to design 
a building that can rely on passing by pedestrians, 
and if this is considered and a space is created to give 
back to the public, making the walk more pleasant, it 
is likely to allow for some lingering before rushing off 
on the nearby taxi, BRT or bus. 
41
Bus Routes and Stops
Prominent Pedestrian Routes
BRT Station and route
Prominent Taxi Routes and Stops
Fig 62 - 65. Movement routes
(Source: Map from www.googlemaps.com)
42
C
o
n
si
d
e
re
d
 S
it
e
s
Initially there were two sites that I thought were in-
teresting within the area of Braamfontein Werf. 
The one site is situated below Atlas studios and 
AFDA and is to the west of John Orr Tech. It is 
currently owned by Egoli Gas. Originally a cement 
mixing and collection area, it is a long site that has the 
Braamfontein Spruit running along its western edge.
Chosen Site
ru
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 pedestrian pedes t
rian
 pedestrian pedestrian pedestrian pedestrian 
Fig 66- 68. Photos of the considered site
(Source: author’s own)
Fig 70. Map exploring sounds experienced
(Source: author’s own)
43
The other is situated at the intersection of Barry Hert-
zog and Empire Road whilst its triangular form is 
completed with the more pedestrian Stanley Avenue. 
It is currently owned by Empire Crossing Develop-
ment and is zoned for industrial use with a height 
restriction of 3 storeys. 
It is incredibly visible as a result of being on a corner 
of two main roads, which would be great in publicis-
ing the building and making it known to the public. 
However it creates pedestrian access issues and be-
comes isolated from the creative hub that has formed 
on Stanley Avenue as a result of Barry Herzog Avenue 
which is a very busy road. 
Machine
People
Natural
A change in text size indicates a change in fre-
quency in peak periods of the day.  A gap suggests 
less frequent use.
c a r s  r us h i n g  c a r s   r u s h i n g  c a r s
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g  c a r s  r
u s h i n g
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p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n pe d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r i a n  p e d e s t r
ian 
ped
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t a x i  s t o p  t a x i  s t o p   
t a x i  s t o p  
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ca rs rush ing c a rs rushing cars rushing cars  c a r s  r u s h i n g
 c a r s  r u s h i n g  c a r s  r u s h i n g  c a r s  c a r s  r u s h i n g
 c a r s  r u s hi ng cars rushing cars cars rushing
 
ca
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 cars cars rushing cars rushing cars rushing cars cars rushing cars rushing cars rushing 
c ar
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g  c a r s c
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 car
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g  c a rs
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 c a r s  r u s h i n g  cars
 rushin
g  
cars cars rushing
 cars rushing cars rushing 
cars  r u s h
i ng  car s  r u
s hi n g ca
rs  rus hing
 c a r s ca r s
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h i n g  ca rs 
r us h in g 
c a r s  c a r s
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g  c a r s  r u
s h i n g  c
a r s  r u
s h i n g
 c a r s  
s q u a t t e r   s q u a t t e r  s q u a t t e r   s q u a t t e r  s q u a t t e r   s q u a t t e r  s q u a t t e
r   s q u a t t e r  s q u a t t e r   
Chosen Site
Fig  71- 73. Photos of the considered site
(Source: author’s own)
Fig 74. Map exploring sounds experienced
(Source: author’s own)
44
Through mapping and analysis of the area it was 
identified that this site would suit the function of the 
building far better than the two previously discussed 
sites, for the following reasons:
Situated just to the north of the Atlas studios on Owl 
Street is a triangular site with its northern tip placed 
at the T-juntion of Stanley Avenue and Owl Street. 
This gives the site many opportunities of being visible 
from Stanley Avenue when travelling both north and 
south along Owl Street and even the nearby Empire 
Road flyover. This visibility is important in promoting 
the building as one for the public. 
The site is tightly fitted between Owl Street and the 
Braamfontein Spruit, a small stream which is current-
ly contained in concrete culverts. This creates a binary 
of noisy street and quiet nature, suggesting a natural 
threshold from public to private. The idea of binaries 
also comes across in the combination of music and 
film both in finished product and in the production of 
the product. 
As it is to the north of Atlas Studios and Afda, it is 
the ideal siting for a building to becom an entrance 
into the area and an introduction into film and music 
and thus hopefully a celebration of both disciplines 
with public exposure easily possible. Thus the siting 
of the building on this site would be a reinforcement 
of a creative spine that has developed with many film 
related business moving within easy distance of the 
SABC. The building should interlock with the current 
uses in the area while providing something more.
C
h
o
se
n
 S
it
e
45
ru
sh
in
g 
wa
te
r 
ru
sh
in
g 
w
at
er
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sh
in
g wa
ter
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ing
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a t
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 h u m
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ses
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s  
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 pedestrian pedes t
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 pedestrian pedestrian pedestrian pedestrian 
Fig 75. Map exploring sounds experienced
(Source: author’s own)
46
47
Fig 76. Site photo
(Source: author’s own)
48
Fig 77. Site photo looking north east
(Source: author’s own)
49
Fig 78. Site photo looking south
(Source: author’s own)
50
S
o
la
r 
S
tu
d
y
Light is an important part of film and has been 
identified as an important aspect in the design of 
the building as it has the power to create an experi-
ence or mood. The consideration of glare from direct 
light is also an important consideration, as most post 
production is done on computers and glare makes 
it difficult to see what is on the screen so as to make 
the subtle decisions of colour grading etc. Thus it is 
important to understand the amount of natural light 
that is available through the course of a year. 
These sun studies illustrate that there are long shad-
ows cast in the winter from the tall buildings to the 
north west of the site which impacts the entire site 
rather significantly in the afternoon. However the 
morning sun can radiate across the site unheeded at 
the present with the site to the east being not built 
upon. In the summer the site is affected by the 4 
storey and 5 storey buildings to the west of the site. 
However as a road divides the site and these build-
ings the shadow cast seems to be predominantly 
affecting the site in the late afternoon. Stanley Av-
enue means that there are no shadows falling in the 
evening on the northern part of the site, which as ex-
perienced on site visits means that from the northern 
point there are views of the sun setting which can be 
very dramatic and beautiful.
51
In the summer the site is affected by the 4 storey and 5 storey buildings to the west of the site. 
However as a road divides the site and these buildings the shadow cast seems to be predomi-
nately affecting the site in the late afternoon.
WINTER
SPRING
8a
m 12
pm
4p
m
8a
m 12
pm
4p
m
SUMMER
AUTUMN
8a
m
12
pm 4p
m
8a
m
12
pm 4p
m
Fig 79. Solar Study
(Source: author’s own)
52
P
R
O
G
R
A
M
M
IN
G
P
ro
je
ct
 B
ri
e
f
The proposed building is sited in an area that links 
many diverse areas thus becoming a place of integra-
tion. The site is surrounded by many refurbished 
buildings which has resulted in the surrounds being 
circumstantial and forced to fit into buildings built 
originally for a different purpose to their current use. 
There is a wonderful opportunity to create a build-
ing which serves as a public gateway to the area that 
brings cohesion to the space and creates a symbol 
of its place in a growing industry of film and music 
by including public flow and accessibility as well as 
having technical enclosure for the post production of 
film and music. The MoAct Centre proposes the idea 
of intergrating and growing an urban area that has 
many players in an industry due to the gravitation of 
the national broadcasters.
The centre seeks to become a prominent space in 
the city of Johannesburg where industry players 
may meet in forums, expand links with students and 
graduates of the industry and expose the public to the 
wonder of films and music associated with them. The 
centre would have private investors who are working 
in the area and have a vested interest in the area and 
in the industry. There is also possible support from 
the National Film and Video Foundation as they are 
instructed by government to assist in the expansion 
of the industry and its public literacy.
A renewal of the urban area, in particular the Braam-
fontein Spruit, would also ensure that the building 
successfully links to the various institutions and 
functions in the area, ensuring that there is better use 
of the area and  24-hour security which as Jonathan 
Gimpel says, “would ensure the safety of television 
and film producers who work odd hours.“ (Ntshingila 
,2003) It is understood that other developers in the 
area are interested and that the Joburg Development 
Agency is prepared to act on these developers’ plans 
of urban renewal.
The centre’s programme is based on the production, 
performance and experience of film and music which 
should add to the functions of the area currently and 
allow for growth in the future. Through the diversity 
of the programme it is possible to create a build-
ing that is used for the majority of the day and most 
nights of the week.
The performance space includes auditoriums that 
can serve as a cinema or a musical performance area. 
Screening rooms and a function room as well as an 
outdoor ampitheater also allow for performances
 As there are already production spaces such as film-
ing studios at Atlas studios the production space 
becomes predominantly post production in the film 
discipline with recording studios and rehearsal rooms 
allowing for the production of music which can then 
be added to the film. Thus the production space 
includes music studios, and film suites. There is only 
the addition of one film studio to the programme as a 
result of the site choice taking the space at the bottom 
of the Atlas Studio property where there are plans to 
increase the studio space through the addition of a 
7th studio. 
The amenity is through a retail store, coffee shop, 
restaurant and bar and exhibition spaces as well as an 
archive.
53
Fig 80. Sketches of the programme overlapping
(Source: author’s own)
54
P
R
O
G
R
A
M
M
IN
G
PR ODUC TION
OFFICES
MUSIC REHEARSAL
MUSIC RECORDING
FILM EDIT SUITES
FILM FLAME SUITES
CENTR AL APPAR ATUS
TELLY CINE ROOM
WC
STUDIO
AUDITORIUM
AUDITORIUM
SCREENING ROOM
SCREENING ROOM
FUNC TION ROOM
OUTDOOR
WC
LOBBIES
GREEN ROOMS
AMPHITHEATRE
RE TAIL
COFFEE SHOP
RESTAUR ANT
BAR
EXHIBITION
AR CHIVE
WC
RECEPTION
OFFICES
STAFF FACILITIES
STOR AGE
WC
PERFORMANCE
CONSUMPTION
ADMINISTR ATION
55
Pro g ram mat i c  Brea kd ow n
(area  c a l c u l ated  i n  s q m)
No of Rooms/ People Factor (area) Area
Production
Music offices 5 12 60
Music Rehearsal 
(possible to use as 
studio during events
1 120 120
Music Recording 3 50 150
Film edit suites 5 30 150
Film flame suites 8 12 96
Central Apparatus 1 80 80
Telly Cine Room 1 40 40
Toilets 70 1.5 105
Studio 1 320 320
Total 1121
Performance
Auditorium 220 2.8 620
Auditorium 150 2.8 420
Screening Room 80 1.5 135
Screening Room 54 1.5 80
Function Room 1 85
Total 1340
Consumption
Retail 1 90
Coffee shop 1 200
Restaurant 1 350
Bar 1 160
Exhibition 3 80+170+35= 265
Archive 1 250 250
Total 1315
Administration
Reception 60
Offices 250
Staff facilities 80
storage 100
Total 4500
 TOTAL 8276
No of Rooms/ People Factor (area) Area
Production
Music offices 5 12 60
Music Rehearsal 
(possible to use as 
studio during events
1 120 120
Music Recording 3 50 150
Film edit suites 5 30 150
Film flame suites 8 12 96
Central Apparatus 1 80 80
Telly Cine Room 1 40 40
Toilets 70 1.5 105
Studio 1 320 320
Total 1121
Performance
Auditorium 220 2.8 620
Auditorium 150 2.8 420
Screening Room 80 1.5 135
Screening Room 54 1.5 80
Function Room 1 85
Total 1340
Consumption
Retail 1 90
Coffee shop 1 200
Restaurant 1 350
Bar 1 160
Exhibition 3 80+170+35= 265
Archive 1 250 250
Total 1315
Administration
Reception 60
Offices 250
Staff facilities 80
storage 100
Total 4500
 TOTAL 8276
56
Annual Calendar
JA
N
U
AR
Y
FE
BR
U
AR
Y
M
AR
C
H
AP
RI
L
M
AY
SUNDAY
MONDAY
TUESDAY
WEDNES
THURSDAY
FRIDAY
SATURDAY
Film Fest ival
(Documentry
Shorts
Student
BANFF Mountain Fest ival
Fordsburg etc)
Forums and Talks
(Student, Graduate, 
Professional Mentor
Public Fi lm Debate
TED Talks
Screenwriters Forum etc)
Exhibit ion
(Student, Graduate
Digital  Media
Animation
Sound
Film history)
Screening
(Cinema Club
Audience Test ing
Graduate work)
Special Events
(Award Dinner
Fi lm Premiere
NSS Educational Collab
Album Launch
BookLaunch)
Music Performance
Building use in a year
57
AU
G
U
ST
SE
PT
EM
BE
R
O
C
TO
BE
R
N
O
VE
M
BE
R
D
EC
EM
BE
R
JU
N
E
JU
LY
M
AY
58
P
R
O
C
E
S
S
 A
N
D
 E
X
P
LO
R
A
T
IO
N
S
‘o
n
 t
h
e
 e
d
g
e
’ 
M
a
st
e
rc
la
ss
“Architecture comes real through playing with 
technique. 
Something intentional and unintentional is 
able to occur.”
 Elena Rocchi
In the middle of thesis year I attended a passion-
ate talk by  Elena Rocchi, currently a lecturer at the 
Universitat de Barcelona. She presented her work 
which she had done whilst working at EMBT Archi-
tects. Her enthusiasm and encouragement convinced 
me to attend the ‘on the edge’ Masterclass in Durban 
with three colleagues, between 16th and 19th June. 
The Masterclass mentors included local architects 
Andrew Makin and Peter Rich and international 
architects Claudio Vekstein, Angelo Bucci and Elena 
Rocchi.
The workshop explored ‘the edge’ through looking at 
two contradictory sites, the beachfront and the very 
vibrant trading area of Warwick Junction. 
At Warwick Junction I was struck by the overpower-
ing sounds and how the various sounds made me 
intrigued to visit a particular stall and when it became 
too much I found a  silent spot which linked one area 
to another. It was here that I took the photo in which 
various levels of connectivity, the highway, the traders 
routes and bridges are captured. It shows the various 
means of transforming a space through the way it 
moves and crosses over. 
Back at the beachfront pumphouse studio, in propos-
ing ideas, I came to realise that it was the co-existance 
59
of the informal stalls and the formal highway that 
showed how space combines and collides. In look-
ing again at the photo it also became clear that the 
background of the photo was beautifully framed 
by the various layers of infrastructure which can so 
often pull apart areas or stitch other areas together, 
but from a distance can also capture elements of the 
place in which it exists. The experience reinforced the 
importance of considering context.
The two places are incredibly different with Warwick 
Junction forming part of peoples’ everyday route. 
With many particular paths and forms it is a space 
that has become a place with a strong identity. In con-
trast the beach is a destination often for enjoyment 
but there is no specified use and as a result there is a 
lot of freedom in what one can do along the beach-
front. It is a vast space that has recently undergone an 
upgrade in which buildings with no specific pro-
gramme have been placed along the pathway. Many 
of these are regularly left empty. The outlook to the 
sea is also one that is vast with only the moving ships 
giving some perception of scale and depth. 
The rhythm of the piers and roads gives some relief 
to the area in breaking down the long beachfront into 
smaller spaces that can relate to a particular aspect 
or neighbourhood. Similarly when standing on the 
beach looking back from whence one has come from 
or back onto the city, the piers create a strong point 
of reference and start to capture many glimpses of 
the background, making it possible to notice certain 
aspects. The frame here becomes a motif, a narrative 
that is reduced and repeated making it possible to 
comprehend something that is of a large scale.
Facing page
Fig 81. Warwick Junction. 
Infrastructure movement layers framing the distant city.
(Source: author’s own)
Below
Fig 82. The beachfront, city meets land edge:  a long path 
broken by the rhythm and repetion of the piers and the 
street blocks. 
(Source: author’s own)
Thus I started to realise the power of a frame in draw-
ing attention to that which may be unnoticed and so 
my exploration was in how to modulate the path, and 
give it some form of measurement so that there is an 
identity to it (or one part of it) that passing people 
can start relating to. 
60
After identifying the repetitive frame of the infra-
structure on the beachfront, that of the piers that 
protrude into the water, which divides the long 
stretch of coastline, the exploration evolved into a ‘red 
line cavity’,  where a redline started to alert one to the 
natural frames on the beachfront, to trying to make 
a physical red line cavity between objects and trees 
that do demarkate different areas of the beachfront. 
And then would come a creation of an actual frame 
with the rectilinear rhythm of the supports of the pier 
and placing it along the beach front, allowing view of 
activities to be highlighted in one direction and build-
ings and aspects of the city in the other direction. 
I also suggested an exploration of a floating framing 
device off the edge of a pier that would move with the 
ebb and flow of the sea, which would be highlighting 
a glimpse of the vast coast edge through the design of 
the frame. The movement would highlight the differ-
ent rhythms time.
Fig 83 - 85. Photos editted to highlight the framing 
device that was seen.
(Source: author’s own)
61
Left
Fig 88. A shadow of a frame creates a different 
space that changes with the movement of the sun 
whilst the structure could potentially be something 
one can interact with.
(Source: author’s own)
Below
Fig 89 -90.Frames focusing attention onto specific 
activities or views.
(Source: author’s own)
Above
Fig 86. A section through the pier with a framing device 
attached, it would move with the flow of the ocean
(Source: author’s own)
Below
Fig 87. A view is isolated when sitting in the floating 
frame, it enhances the experience by removing distrac-
tions and focusing and filtering the phenomenon.
(Source: author’s own)
62
P
R
O
C
E
S
S
 A
N
D
 E
X
P
LO
R
A
T
IO
N
S
D
e
ve
lo
p
m
e
n
t
The workshop made me question ideas of  framing, 
and a building which provides a frame or is a frame 
became an exploration. 
There were however limits to the ease of  circula-
tion and movement in the scheme and it felt jarring 
on the intimate site.
What did come out of  the exploration is that 
through a ‘glimpse’ one is able to create the illusion 
of  a framing device.
The building developed from a series of  frames 
or blocks that ran perpindicular to the road to a 
scheme where movement defined the shape more 
resulting in a long building that ran parallel to the 
river and the road. The exploration also include a 
combination of  parallel and perpindicular shapes 
to the road with pockets of  outdoor space. 
63
Fig 90 - 100. Photos of process model explorations 
(Source: author’s own)
64
There are many buildings that cause interest as far 
as sound is concerned. A cylinder in which a whis-
per can be heard from the other side, staircases that 
are a large piano that plays a note as one steps on 
the tread, a square in China where one can stand in 
a point and scream yet no one can hear them.
Bernard Lietner has revolutionised the way sound 
is experienced through various projects and in-
stallations. They create an unique experience for 
the participant. It is possible to learn from these 
projects and install similar principles into a build-
ing so as to enthuse emotion from the user of  the 
building.
His projects often reduce objects and forms and 
concentrate on the experience of  sound and how it 
can be a solitary experience in which the induvidual 
is captured, and is able to change from the high 
level of  visual installations that occur all around us 
to one of  an acoustic value. However, it is a very 
different experience of  listening to sound, in com-
parison to listening to music in a concert hall. As 
most of  Leitner’s installations or sound spaces are 
experienced induvidually, a participant in the sound 
space, is a spectator with no stage dividing the 
visual aspect of  the performance. And becomes 
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Fig 101. Sound installations and explorations
(Source: www.archdaily.com)
part of  the performance which others can spectate.
Leitner considers the ability to measure and control 
sound through his projects. ‘It draws lines, builds 
walls and permeates according to architectural 
rules” (Lopez, 2011) Thus sounds can be seen to 
be a constructive material that can be used as an 
architectural element to make a space emerge.
In the Cylindre Sonore, Leitner has used a shape 
that increases the sound as it consolidates the 
sound to a point as a result of  the curved surface 
making the ring a resonance chamber. Leitner uses 
natural noise and man made sound through the use 
of  loudspeakers which are placed behind eight per-
forated concrete columns. Water forms a narrow 
division between the cylindrical wall and the island 
ground in the centre of  the cylinder. 
The water creates white noise, which is believed 
to allow one to concentrate and be more sensi-
tive. The project encourages passing people to 
enter it as there is a sense of  intrigue as one can 
hear sounds outside of  the cylinder thus making 
one want to find the source, it appears due to the 
size of  the walls that the architecture is one that is 
closed yet it is open to sky.
65
The Cylindre Sonore is an interesting pavilion; in 
how place can be created and enhanced through 
the use of  sound, both through the use of  power 
and speakers and through the use of  water. The 
simple architectural gesture of  using a convex wall 
makes the sound converge and thus making the 
sound more powerful as it is reflected.
Fig 102 - 104. The Cylindre Sonore. 
(Source: www.archdaily.com)
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Whilst sound installation using technologies such as 
speakers can create an atmosphere and install sounds 
from elsewhere into a building, there is also alot one 
can do with acoustic forms.
Space has an effect on the way sound waves travel and 
thus on the expression of sound. Similarly the type 
of material has an effect on sound waves in either its 
ability to absorb the sound or in reflecting it. 
Although sound can be emitted in all directions, most 
sounds are directional in that there is a greater in-
tensity of sound in one direction as a result of sound 
being a wave.
Frequency is the number of vibrations per second 
of the air molecules as created by the source. High 
frequency sounds have shorter wavelengths (the 
distance between compression centres). This also 
means that higher frequencies (whistle) travel less 
distance than lower frequencies (bass).
Sound can thus be directional, reflected or absorbed.
Reflection: The diagrams illustrate how the shape of 
a surface is very important in the direction it reflects 
the sound. A concave surface reflects the sound back 
to the source which creates a confusion of sound 
and is not good for acoustics, unless the need is to 
amplify the sound.
A convex surface reflects the waves at a wider angle, 
therefore making the sound weaker and quieter.
A planar surface will differ the reflection of sound 
depending on the angle of the planes. If the surfaces 
are not parallel to each other the sound will be dis-
persed throughout the space.
Absorption: Material plays an important role in the 
absorption of the sound. Sound is reduced when it 
is modified, as it is a form of energy. Thus when a 
sound hits a material it loses energy and loudness. 
However, different materials allow for a different 
amount of absorption (transfer of energy from 
sound wave to material).
The more porous the material the more sound is ab-
sorbed. Thus smooth, hard, dense and heavy materi-
als reflect sound more than rough, soft, porous and 
light materials.
To get good absorption, more than one material can 
be used as a change in material density, means more 
of a loss of energy and thus sound.
Fig 106. High Frequency - travel less
Low Frequency  - travels far
Fig 105. Movement of sound and the 
ability to reflect or be absorbed
(Source: after Moore 1967 )
67
Fig 107. The reflection off a flat surrface a 
convex surface and a concave surface
(Source: after Moore 1967: 21 )
Absorbing materials 
People
Rubber
Glass
Timber
Concrete/Stone
Reflective
Barriers
Fig 108. The reflection off a planar surface 
relies heavily on the angles of the surfaces to 
each other.
(Source: after Moore 1967: 23 )
Fig 109. The difference in materials adn 
their ability to absorb or reflect sound
(Source: Martin 2005)
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Many architects have worked with light to harness 
different atmospheres. Some have also used colour 
to exaggerate a feeling. 
Steven Holl has done a series of  experiments to 
see how light reacts depending on the size and 
direction of  apetures and the wall on which the 
light falls. 
Tadao Ando uses light effectively to create an at-
mosphere of  calm by sometimes placing windows 
where one would not expect as they do not always 
allow for a view but rather control the light that is 
entering the space.
Whilst David Adjaye has used light and colour very 
effectively in the Idea Store, London  making the 
building a friendly environment to work in.
Light should not be underestimated, this Theatre 
in Montreuil by Dominique Coulon shows how a 
small opening can create a sharp entrance of  light. 
The light also increases in dramaticness as a result 
of  coming into the building from above or below. 
The use of  shadow gaps in contrast to a direct 
joining of  surface changes the effect of  the light.
There is a sense of  drama, which relates to the way 
stories can be told in films and theatre productions.
Fig 110 - 113
Dominique Coulon’s Montreuil Theatre
(Source: Architecture and Urbanism )
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Light has been used to animate buildings often for 
artistic purposes and sometimes in protest. 
With improvements in technology it is now possible 
not only to project media onto a facade but to also 
create a facade from media technologies such as LED 
screens.
Ilumesh and Media mesh are a combination of LED 
technology and a woven metal mesh which together 
creates a transclucent media facade. 
The cable mesh is woven to any required lentgh and 
at certain distances the LED carrier sleeves are woven 
into the mesh. The carrier sleeve supports  and holds 
the LED in place and has an open front so that the 
LED lights are seen. A resin is used to protect the 
LED
The Media mesh can be used to provide some shad-
ing for a facade as well as a media outlet. This is an 
exciting opportunity in a cinematic building. To 
welcome people and to have a beacon the design 
proposed in the thesis results in a glass facade on the 
north side of the building to capture interest and the 
views. 
The product was used in Milan Italy as an urban 
screen during the alterations of a building. It provided 
some safety to a large scaffolding requirement and a 
communication means. Being translucent it also al-
lowed for people to see in side the building.
Fig 115 MediaMesh
(Source: Haeusler, 2009; pg146)
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Fig 116 - 118 
Palazzo dell’ Arengario by ag4 media facade GmbH
(Source: Haeusler, 2009; pg146)
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AUDITORIUM
POST-PRODUCTION
ROOF GARDEN
CAFÈ & SHOP
STUDIO
MECHANICAL/PLANT ROOM
POST-PRODUCTION
POST-PRODUCTION
SCREENING ROOMS
ADMIN
FUNCTION SPACE
ARCHIVES
AUDITORIUM
BAR
RESTAURANT
Fig 119 
Design intentions and massing of programme
(Source: Author’s Own)
73
create space for amphitheatre:
adds a dynamic edge to the building and 
creates a cycle/pedestrian path
overhang is a welcoming gesture; 
northern oriented glass is to be shaded
using illumesh steel mesh with inbuilt LED’s 
creating a multifunctional shading device 
trac is calmed by raising the height 
and changing the material to cobblestone pavers
thus changing the acoustics in the area  
curve wall to invite people
into the building 
frame
frame
restaurant looks out onto the spruit; 
providing a calm space in a busy city
coee shop = 
dynamic zone
view through the building
soundscape garden for contemplation 
and to explore sound installations
Fig 120 
Design intentions
(Source: Author’s Own)
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