Music therapy center by Lujayn Arabiyat

University of Jordan, Faculty of Engineering Department of Architecture

Title: Music Therapy Center project

Submitted by Lujayn Mahmoud Arabiyat Supervised by arch. Esraâ&#x20AC;&#x2122; Al-qudah

Thesis submitted in partial fulfillment of the requirements of final graduation project in Architecture Academic Year 2019-2020

ACKNOWLEDGMENT

They say Sometimes you do not feel the weight of something you have been carrying until you feel the weight of its release. In the accomplishment of this project successfully, many people have best owned upon me their blessings and the heart pledged support, this time I would like to extend my sincere thanks to all of them. Foremost, I thank Almighty Allah for his grace, without his guidance I would never be able to accomplish anything in my life. I would like to express my gratitude towards my family for the encouragement and their endless support. My beloved parents who made me believe in myself and have borne the burden of those five years with me. The most caring Aunt Eman. And my dearest sister Hiba who shared most of the sleepless nights with me. I express my deep sense of gratitude to my supervisor Arch. Esraâ&#x20AC;&#x2122; Alqudah who has helped and encouraged me at all stages of my thesis work with patience and immense care. I express my sincere gratefulness to my friends, to Layan, who has been my first and last partner since our first day and for every day in the five years, To Haneen who made every submission possible, And to Hussam. I also would like to thank Myrna and Dima for always believing in me. Finally, I would like to dedicate this work to the soul of my uncle -May Allah be merciful to him- who I will never forget in his eyes the happiness of my success.

TABLE OF CONTENTS Subject

Page

Table of Contents……………………………………………………....….............

List of Figures …………………………….……………….…………………….

iii

Introduction ………………………………………………………………………

Chapter 1

Theoretical Background and literature review………………………

Chapter 2

Site selection criteria and site analysis ……………………….….….

Chapter 3

Case studies ……………………………………………….………….

Chapter 4

Pragmatic thinking Approach………….………………………….……

Chapter 5 Conceptual Approach and Design………………………………………

Chapter 6 Final design …………………………………………………………….

Chapter 7 3 Dimensional illustrations and perspective…………………………….

References …………………………………………………………………………..

LIST OF FIGURES Figure 1 Skills and how they are developed by music therapy ................................................................ 8 Figure 2, The effect of music therapy ...................................................................................................... 9 Figure 3,Person listening to music during and MRI Scan. ........................................................................ 9 Figure 4 Modulations ............................................................................................................................. 10 Figure 5 The 4 methods of music therapy.............................................................................................. 11 Figure 6 Users ......................................................................................................................................... 11 Figure 7, Music therapy users ................................................................................................................ 12 Figure 8 Music therapy Group Sessions ................................................................................................. 13 Figure 9 Music therapy individual sessions ............................................................................................ 13 Figure 10 Music therapy room examples ............................................................................................... 14 Figure 11 Music therapy History timeline .............................................................................................. 19 Figure 12 Option num.1 satellite map ................................................................................................... 20 Figure 13 Option num.1 View ................................................................................................................ 20 Figure 14 Option num.2 View ............................................................................................................... 20 Figure 15 Option num.2 Satellite map ................................................................................................... 20 Figure 16 Option num.2 View ............................................................................................................... 20 Figure 17 Option num.3 Satellite map .................................................................................................. 20 Figure 18 Site criteria for the three options........................................................................................... 21 Figure 19 Selected site location maps.................................................................................................... 21 Figure 20 Selected site location satellite map ....................................................................................... 22 Figure 21 Selected site Streets map ....................................................................................................... 22 Figure 22 Selected site Landmarks map................................................................................................. 23 Figure 23 Selected site Approach and Time needed map...................................................................... 23 Figure 24 Legal Land use map ................................................................................................................ 24 Figure 25 Site contour and dimensions map ......................................................................................... 25 Figure 26 Sections showing the slope of the selected site .................................................................... 25 Figure 27 Vacant & occupied land map ................................................................................................ 26 Figure 28 Solid & Void map .................................................................................................................... 26 Figure 29 Climate and sun ...................................................................................................................... 27 Figure 30 Sensory & Views ..................................................................................................................... 27 Figure 31 SWOT analysis ........................................................................................................................ 28 Figure 32 Initial design response............................................................................................................ 28 Figure 33................................................................................................................................................. 29 Figure 34................................................................................................................................................. 29 Figure 35................................................................................................................................................. 30 Figure 37 Site plan .................................................................................................................................. 30 Figure 36 Eastern elevation.................................................................................................................... 30 Figure 38 Southern elevation ................................................................................................................. 31 Figure 39 Sections .................................................................................................................................. 31

Figure 40 Detailed section...................................................................................................................... 31 Figure 41 Entrance canopy ..................................................................................................................... 32 Figure 42 Windows................................................................................................................................. 32 Figure 43 Plan analysis ........................................................................................................................... 33 Figure 44................................................................................................................................................. 34 Figure 45 Reception desk ....................................................................................................................... 34 Figure 46 Skylight ................................................................................................................................... 34 Figure 47 Materials ................................................................................................................................ 35 Figure 48 Interior materials.................................................................................................................... 36 Figure 49 Glassical hall interior shots..................................................................................................... 37 Figure 50 Yasminâ&#x20AC;&#x2122;s room interior shots ................................................................................................. 37 Figure 51 Tom's room interior shots ...................................................................................................... 38 Figure 52................................................................................................................................................. 38 Figure 53 Kitchen.................................................................................................................................... 39 Figure 54 Owner's office ........................................................................................................................ 39 Figure 55................................................................................................................................................. 39 Figure 56 Sustainable design analysis .................................................................................................... 40 Figure 57................................................................................................................................................. 41 Figure 58 Interior open plan .................................................................................................................. 42 Figure 59 Interior Music therapy rooms ................................................................................................ 43 Figure 60................................................................................................................................................. 44 Figure 61................................................................................................................................................. 44 Figure 62 Site plan .................................................................................................................................. 45 Figure 63 Sections .................................................................................................................................. 45 Figure 64................................................................................................................................................. 46 Figure 65 Plans ....................................................................................................................................... 47 Figure 66 Martials and interior shots ..................................................................................................... 48 Figure 67................................................................................................................................................. 49 Figure 68 Plan analysis ........................................................................................................................... 50 Figure 69 Cafeteria and the big Ceder tree ............................................................................................ 51 Figure 70 Landscape between studios ................................................................................................... 51 Figure 71 Studios interior ....................................................................................................................... 52 Figure 72................................................................................................................................................. 52 Figure 73 Spatial visualization ................................................................................................................ 54 Figure 74 Bubble diagram ...................................................................................................................... 55 Figure 75 Marais garden wall/ Michelle Sketch ..................................................................................... 59 Figure 76 Transcription of Chopin's Nocturne op.9 No.1 ....................................................................... 59 Figure 77 Initial visualization of spaces on the site ................................................................................ 60 Figure 78 Morphology ........................................................................................................................... 61 Figure 79 Site Plan Scale 1:800 .............................................................................................................. 62 Figure 80 Master plan scale 1:800 ......................................................................................................... 63 Figure 81 Section A-A ............................................................................................................................. 64

Figure 82 Section B-B ............................................................................................................................. 64 Figure 83 Section C-C ............................................................................................................................. 64 Figure 84 Sub-section showing the suites, the overlook and the lobby area ........................................ 65 Figure 85 Sub-section showing the Therapy rooms, gym, and meditation overlook ............................ 65 Figure 86 Northern Elevation ................................................................................................................. 65 Figure 87 Southern Elevation ................................................................................................................. 65 Figure 88 Shot1 from north west showing the suites and the other functions ..................................... 67 Figure 89 Shot2 showing the whole project .......................................................................................... 67 Figure 90 Shot3 Showing the lobby from restaurant outdoor space..................................................... 68 Figure 91 Shot4 Showing the Main Entrance ......................................................................................... 68 Figure 92 Shot 5 Showing the Activity outdoor space ........................................................................... 69 Figure 93 Shot 6 Showing Therapy court ............................................................................................... 69 Figure 94 Shot7 Showing the outdoor hall of the gym and the amphitheater ...................................... 70 Figure 95 Shot 8 Showing the Services entrance & Restaurant ............................................................. 70 Figure 96 Shot9 Showing the outdoor halls for both individual & group therapy rooms ..................... 71 Figure 97 Shot9 Showing the outdoor halls between Suites ................................................................. 71 Figure 98 Shot 6 Showing the Meditation overlook from inside ........................................................... 72 Figure 99 Shot 11 Showing the amphitheater outdoor space from the restaurant .............................. 73 Figure 100 Shot 12 Showing the interior lobby space ........................................................................... 73 Figure 101 Shot 13 interior hall .............................................................................................................. 74 Figure 102 Shot 14 Individual therapy room.......................................................................................... 74 Figure 103 Shot 15 Group therapy room ............................................................................................... 75 Figure 104 Shot 16 Group Therapy room............................................................................................... 75 Figure 105 Shot 17 Interior space of Suite ............................................................................................. 76

INTRUDUCTION Music therapy definition Music Therapy is "the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program." (AMTAâ&#x201E;˘ definition,2005).

It is a discipline in which credentialed professionals (MTA*) use music purposefully within therapeutic relationships to support development, health, and well-being. Music therapists use music safely and ethically to address human needs within cognitive, communicative, emotional, musical, physical, social, and spiritual domains. Music therapy is used as a tool to assist in making non-musical gains in order to apply the focus of the patient's music therapy treatment directly to the patient's desired needs, outcomes, and appropriate diagnosis and treatment setting. Statement of the problem Psychological problems are very widespread nowadays, because of the nature of life that cause stress, yet in our society no one gives it proper attention.

Research objectives The aim of this research is to introduce the concept of music therapy to be part of our society and make it accessible to enhance human capabilities through the planned use of musical influence on brain functioning and meet the physical, emotional, cognitive and social needs for a group or individual and developing those skills.

Figure 1 Skills and how they are developed by music therapy

Goal create a qualified place that invites people with psychological problems, whether noticeable or the normal people with simple stress, also people with some physical problems, speech problems and people who have trouble expressing themselves and communicating properly.

Why Music? Music is the only sensory experience that can activate all areas of the brain at the same time simultaneously. This creates powerful new potentials to our clients for the development of new neuropathways. It triggers whole brain processes and functioning which directly affect one's

cognitive, emotional, and physical functions and abilities. It touches all aspects of the mind, body, brain and behavior by activating brain regions involved in listening to, reading, moving to, and playing music, and in the experiencing of memories, emotional context, and expectations associated with music and influences human behavior by affecting the brain and subsequently other bodily structures in ways that are observable, identifiable, measurable, and predictable, thereby providing the necessary foundation for therapeutic applications. Just like babies who start dancing to songs, all humans seem to have an innate response to music regardless of their level of ability or training. Music has the power to engage and keep the attention of patients of all ages. With the guidance of a music therapist, this power can be used to entertain, uplift, open the mind and awaken the senses in order to succeed in meeting numerous therapeutic goals.

Figure 2, The effect of music therapy

Figure 3,Person listening to music during and MRI Scan.

How does it work? It is claimed that five factors contribute to the effects of music therapy: Modulation of Attention: Music grabs our attention and distracts us from stimuli that may lead to negative experiences (such as worry, pain, anxiety and so on). This may also explain the anxiety and pain-reducing effects of listening to music during medical procedures. Modulation of Emotion: Studies have shown that music can regulate the activity of brain regions that are involved in the initiation, generation, maintenance, termination, and modulation of emotions. Modulation of Cognition: Music is related to memory processes (including the encoding, storage, and decoding of musical information and events related to musical experiences). It is also involved in the analysis of musical syntax and musical meaning. Modulation of Behavior: Music therapy also works through modulating behavior. Music evokes and conditions behaviors such as the movement patterns involved in walking, speaking and grasping. Modulation of Communication: Music is a means of communication. Therefore, music can play a significant role in relationships.

Musical interaction in music therapy, especially musical improvisation, serves as a non-verbal and pre-verbal language, allows people who are verbal to gain access to pre-verbal experiences. It also gives non-verbal people the chance to communicate with others without words and allows all people to interact on a more emotional, relationship-oriented way than may be possible relying on verbal language (Geretsegger et al., 2014).

Methods Figure 4 Modulations

There are four fundamental methods of music therapy: receptive, improvisation, recreative and composition. Receptive method is used wherein the patient listens or responds to live or recorded music. It is applied in the instance of pain management and stress reduction. It can also be used as form of movement or dance-related therapy. Improvisation method allows the patient to spontaneously create music with their voice or a carefully selected instrument. It stimulates creativity within the patient, thus releasing energy, or as an aid to help to manage painful feelings. Drumming is an increasingly popular form of improvisation among younger patients, as it involves both rhythm and a high degree of physical activity.

Recreative method allows the patient and therapist to sing or play previously composed music together. This form of music therapy is commonly used within larger, group based communal activities. Composition encourages the patient to write original songs or instrumental pieces. This approach is often used with children and adolescents to encourage a sense of competence, achievement. and expression of feelings.

Figure 5 The 4 methods of music therapy

Whatever the method, thereâ&#x20AC;&#x2122;s no denying that this practice can affect patientâ&#x20AC;&#x2122;s heart rate and breathing, especially when a strong rhythm is involved. Music therapy also promotes the release of neurotransmitters, called endorphins, which trigger a positive feeling in the body and act as natural painkillers, reduce muscle tension and promote relaxation. There is also evidence that music helps release memories, negative emotions or repressed feelings. This is important in a patientâ&#x20AC;&#x2122;s healing process because it can bring about a positive change in their thoughts, behavior and attitude.

Who can benefit? Music therapy is appropriate for people of all ages, whether they are virtuosos or tone deaf, struggling with illnesses or totally healthy. (Figure) Also, there's potential of music therapy to help people with physical and mental health conditions such as: Psychiatric: Simple stress, depression, anxiety and sleep disorders. Medical: Speech disorders, behavioral disorders, cardiovascular disease, substance use disorders, Autism spectrum disorders, post-traumatic stress disorder, developmental delays and learning disabilities, stroke, brain injury, and neurological disorders, Dementia and Cancer.

Figure 6 Users

Music therapy can improve the mood & promote relaxation. It can enhance the quality of life, enhance memory, induce sleep, strengthen the coping skills, encouraging emotional expression, relieving stress and symptoms of anxiety, manage pain and improvise healing, help reduce symptoms

of psychological disorders, help manage Parkinson’s and Alzheimer’s disease and create a legacy project during your journey.

Types of activities •

Improvisation

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Singing well-known songs

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Vibroacoustic therapy: This is a receptive form of music therapy. It involves music being played through speakers which are built into a chair, mattress or bed (which the client lies in). Then, the client directly experiences the vibrations that are brought about by the music

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Stress-reduction techniques

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Music and movement

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Folk dancing or social dancing

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Music stimulation

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Songwriting

Process Music therapists are part of a multi-disciplinary team, working with other professionals to ensure treatment also works for the client to achieve their goals. For example, if a person is working on strengthening and movement in order to address physical limitations, a music therapist could introduce dance into their treatment plan. The music therapy process should always include:

•

Assessment.

•

Goals.

•

Reassessment.

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Progress reports.

Figure 7, Music therapy users

Sessions Through their clientâ&#x20AC;&#x2122;s musical responses, music therapists measure the emotional wellbeing, physical and mental health and communication abilities of the client to better understand the issues at hand and to formulate future treatment plans, and thus the type of session. Music therapy sessions can look very different depending on the primary focus of the session. There are both Group and Individual music therapy options. -

Individual music therapy sessions: Sometimes, one-on-one support is the best form of music therapy to help meet your needs and reach your goals.

Group music therapy sessions: Those sessions may be designed for a specific purpose such as improving memory or attention, reducing anxiety, or maintaining physical abilities (muscle tone, balance, endurance) while individual sessions are tailored for one person and could include a wider range of goals.

Figure 9 Music therapy individual sessions

Figure 8 Music therapy Group Sessions

Music therapy sessions usually can be found in majour hospitals, nursing homes, obstetrics,

Rehabilitation Facilities, mental health facilities, public schools, hospices, early childhood centers.

Figure 10 Music therapy room examples

CHAPTER 1: Theoretical Background and literature review

“Here, at a point when the will is the highest danger, art approaches, as a saving, healing magician. Art alone can turn those thoughts of disgust at the horror or absurdity of existence into imaginary constructs which permit living to continue.” – Nietzsche, The Birth of Tragedy Music is the first ethics refinement, it is, according to Aristotle, the goddess of politeness, taste and beauty, it is the language of the soul and emotion, the hour of joy or sadness. The writer Gibran Khalil Gibran talked about music and said: Music has to do with kings in palaces, edifices and soldiers in the battlefields and fighting, and the shepherd, and the travelers on their travels, and all of these and others unite them with the language of music with voices that have the qualifications and capabilities that enable them souls and hearts. Scientists believe that the word (music) is of Greek origin, an industry in which it searches for the regulation of melodies and the relationships between them, and for rhythms and weights. Musical instruments were used by ancient peoples in a way that made them a gift from the gods, as some of the instruments in its novels were attributed to gods. For example, Apollo is considered one of the ancient Greek gods as the god of music and medicine. The progress that it has achieved, in which Plato said, “Music is a movement of sounds to reach the soul for education and virtue”. The use of music as a therapy for disease or mental and emotional disorders is becoming a very popular tool in modern psychological medicine, but music therapy has been used all around the world for centuries. Music’s restorative power was recognized but not fully understood, a statement as true about the past as it is about present music therapy. The history of music therapy begins as early as the writings of Plato and Pythagoras. In the Middle Ages, the works of Galen and the medical theory of the four humors played a huge role in medieval music therapy, as did the writings of Boethius. Music therapy was also used during the Renaissance as a cure for melancholy or lovesickness, and music therapy was also used in the 18th century with Anton Mesmer. What early music therapy reveals is that music serves as a regulatory of the body’s function. Music is a more passive therapy that helps strengthen the body, not combat an illness. Music Therapy has origins as early as ancient Greek philosophers, and although the music from that time was lost, the theory on music’s healing power remained. Pythagoras compared the distance between the heavenly spheres to the distance between pitches on a musical scale. This relationship between the proportions of the heavenly spheres and intervals in music remained an important factor throughout early music therapy theory. The heavenly spheres themselves were said to make music as they moved, and earthly music was similar to the spheres because of the proportions and intervals used. Plato used this idea and applied it to the human soul, believing that the soul of the human body was proportional to the spheres’ movement. These mathematical relationships were key to how philosophers found similarities

between music, the nature of the universe, and the human body/soul. "Soul" in this sense was impossible to separate from the body. Plato wrote in Timaeus that "Attunement, having motions akin to the circuits in our soul, have been given by the Muses […] as an aid to bring our soul-circuit, when it has gone out of tune, into order and harmony with itself." Plato’s explanation presented the idea of music acting as a regulator or bodily functions, that is, the actions of the soul. When the body is out of tune, or when a person is ill, music was able to restore normal "harmony" or homeostasis. Music has been used as a treatment for centuries. It was practiced in ancient times to drive away evil spirits, believing that they affected emotions, including the nature of the individual and the refinement of his soul. It has also been used as a treatment in Egyptian temples, after careful studies by psychologists have shown them that music has a direct connection to the emotional aspect of a person, and that his nerves are clearly affected when listening to their interesting tunes, so special hospitals and centers for music therapy were established, in which it treated people with neurological and mental illness.

Historical background The use of music to influence the human body was first mentioned in writing in Egyptian medical papyri dating back to 1500 BCE” according to Rolando Benenzon. Greco-Roman, Arabian, Indian, and Chinese traditions of learned medicine all include various notions of music used in a therapeutic way. Stories and quotes from mythological and biblical sources also provide evidence of this. The connection between music and emotion has long been acknowledged, along with the ability of music to influence both mental and physical health. Pythagoras, Plato and Aristotle all wrote about how music affects health and behavior, and aboriginal tribes from all over the world have used music as part of their healing arts. Around 600 B.C., music in ancient Greece was used to arouse emotions and restore contact between the soul and the body. The famous Greek philosopher Plato wrote in “The Republic” that: “Music is the treatment of the soul, and that justice for the soul is like health for the body.” He said Music is what brings harmony to the soul, and its behavior also pushes for justice. Muslims introduced many innovations in this field, and they used therapeutic techniques that are modern in the contemporary concept. The techniques used by hospitals in the eighteenth and twentieth centuries were found in sanatoriums that were built in ancient Cairo, Baghdad, Damascus, and Aleppo between 700 and 1270 AD, and they were provided to psychiatric patients along with medications. Drugs, a musical treatment on a professional basis by choirs and bands, were singing, playing, and sometimes providing comic performances to patients. Since the ninth century AD, Arab medical books included the role of music, and considered it an essential part of Arab medicine, as famous books referred to it by doctors, scholars and

philosophers, including "Al-Kindy", "Al-Razi" and "Ibn Sina", and many Arab scientists combined medicine and music. Al-Kindy was the first to take music therapy among Arab musicians, and he mentioned it in the book "A Message in the Introduction to Music Industry". He said that some tunes help digestion, some of them strengthen the "yellow bitterness", some of them strengthen the blood, and put many tones in prescriptions. And after him, Al-Razi, who was a musician, before studying medicine and chemistry. This is what helped him to use music for treatment purposes and studying the benefit of music in healing diseases and relieving pain. It is said that this was by chance, as he was sometimes playing inside the hospital with the intention of entertainment, and he noticed that patients turn around and forget their pain, and from this he realized the effect of music in relieving Pain and the recovery of some diseases, and after many experiments he became dependent on it as a method of treatment. Then Al-Farabi had an important role in music therapy, as he mastered it and was able to create melodies that move souls and arouse emotions. In his footsteps, Ibn Sina followed his musical theories. On studying the human psyche, for example, he states that "the position of the dock is heard at sunrise", and "the position of the nuclei in Morocco" due to the fluctuation of human psychological states during the day. Music was present in the departments of “Psychiatry” in hospitals during the Umayyad and Abbasid eras to treat patients, and during the era of “Seif al-Din Qalawun” it was built in Cairo in Mansouri Hospital in 1284 AD, and it provided patients with treatment through soft music, and also provided religious songs before raising the dawn call, She also hired storytellers and jokes to entertain patients. However, music therapy in the Islamic and western world also stopped for nearly a thousand years, and it only appeared in separate experiences. Europe knew it for example after World War II, when musicians volunteered to go to hospitals and played for the wounded soldiers returning from the war to alleviate their suffering, before Researchers should rediscover it and provide new information about it only several decades ago. Music therapy has matured and developed in the Ottoman Empire with the development and diversity of (Maqamat), especially since each Maqam operates as a mirror that reflects a specific psychological state and mood that differs from others. The head denotes joy and peace, the sanctuary of Isfahan denotes self-confidence, the denomination of lovers for laughter, the boyhood of strength and courage, the Hijaz denotes humility, the denomination of cores gives a feeling of psychological comfort, and many others. We find Ottoman books and writings, whether musical or medical, focus a lot on the effect of sound and melodies on man and the role of music in healing, because they believe that music therapy may re-establish the patient harmony and create a harmonious balance between the body, mind, and emotions, and thus a person can become aware of himself and his soul, and for this reason Music has a noticeable and visible presence among Sufis and their various rituals.

With regard to Sufism, the purification of the soul passes first through the heart and soul, and therefore the music as a gift from the Creator works as a means of training on spiritual perfection and harmony with the self, and the ultimate goal of music for Sufis was to achieve self-freedom for the soul in order for the soul to reach the heavenly origin, and thus They have a way to treat mental and spiritual illnesses. Later, the state worked to allocate music therapy departments in its hospitals in various cities such as Istanbul, Amasya, Sivas, Kayseri, Manisa, Bursa, and Edirne Hospitals. In some of his diaries, the famous Turkish traveler and blogger, Olea Shalaby, mentioned that Sultan Bayezid had dedicated a band composed of playlists and singers whose mission is to organize 3 weekly sessions in Istanbul hospitals for the sick and crazy in them, with the aim of alleviating the patient by changing his emotional and mood states and helping him to revive He trusted himself. The musicians used to perform different shrines according to the condition of each patient, there were those who were affected by the shrine of Hijaz and another by the shrine of the Kurds and others in the rust, and so, what made Europe take inspiration of this therapeutic form and try to apply it in its hospitals and clinics, especially in the eighteenth century where the Ottoman European civilization communication had Peaked. The 20th century profession formally began after World War I and World War II when community musicians of all types, both amateur and professional, went to Veterans hospitals around the country to play for the thousands of veterans suffering both physical and emotional trauma from the wars. The patients' notable physical and emotional responses to music led the doctors and nurses to request the hiring of musicians by the hospitals. It was soon evident that the hospital musicians needed some prior training before entering the facility and so the demand grew for a college curriculum. A very brief historical glimpse of this fascinating profession follows in (Figure). Music therapy as it exists today began in the 1960s as scientists and doctors began proving the healing power of music with clinical trials. In the 1970s, "new age" music emerged as a genre of music without recognizable harmony, rhythm or melody that is used for yoga, meditation and relaxation. Today, music therapists work in a variety of different settings including hospitals and clinics, schools, substance abuse centers, nursing homes and private practice.

19 Figure 11 Music therapy History timeline

CHAPTER 2: Site selection criteria and site analysis

Suggested sites 1- Zayy Sub-district

Figure 12 Option num.1 satellite map

Figure 13 Option num.1 View

2- Zayy Sub-district

Figure 15 Option num.2 Satellite map

Figure 14 Option num.2 View

3- Al-Hussein Public Park

Figure 17 Option num.3 Satellite map

Figure 16 Option num.2 View

The selection of the sites depended on its distance from the city noise and its flourishing nature that helps the nature of the project.

Site Selection criteria Option 2

Option 1

Option 3

Selection criteria of the site were chosen according to projectâ&#x20AC;&#x2122;s nature and needs, achieving an appropriate condition surrounding the project and suitable for its specifications and goal.

Figure 18 Site criteria for the three options

The second option is selected based on the previous criteria. Site details Location

Figure 19 Selected site location maps

Figure 20 Selected site location satellite map

Figure 21 Selected site Streets map

Figure 22 Selected site Landmarks map

Figure 23 Selected site Approach and Time needed map

From Amman Al-Ahliyya University Through Salt Highway (Rout 30)

Figure 24 Legal Land use map

Site Shape and Dimensions

Figure 25 Site contour and dimensions map

The site is gently sloped, and its level is higher than the surrounding Thus there will be no view blocking and the site will remain quiet.

Sections

Figure 26 Sections showing the slope of the selected site

Figure 27 Vacant & occupied land map

Figure 28 Solid & Void map

Climate

The climate is warm and the temperate. The warmest month of the year is August, with an average temperature of 24 degree. So, itâ&#x20AC;&#x2122;s not considered a hot area and remains acceptable in Summer because of the presence of the trees. In January, the average temperature is 7.6 degree. So, itâ&#x20AC;&#x2122;s considered cold at winter and need some treatment.

Figure 29 Climate and sun

Sensory Picture taken from the site featuring the northern view Picture taken from the side featuring the Street on the Eastern direction

Picture featuring the western view from the site Picture featuring the main street that passes near the site Figure 30 Sensory & Views

Picture taken from the southern direction featuring the old evergreen trees on the edge of the site 27

SWOT Analysis

Figure 31 SWOT analysis

Figure 32 Initial design response

CHAPTER 3: Precedents analysis

CASE I: SUNBEAMS MUSIC CENTER

Project data: −

Architect: MawsonKerr Architect

−

Area: 600 sqm

− Location: Penrith, Cumbria/ UK − Status: Completed − Sectors: Work, Perform, Heal − Goal: Use music in a therapeutic way to encourage communication and social inclusion, build up self-esteem, and self-confidence, and improve quality of life, making a real difference in people’s lives. − Design concept: The design embodies values of music: Timbre, Rhythm, Melody, Volume and how these work within the context of the surrounding lake district. The design concept seeks to attain the highest quality of arts - related experience, improving quality and depth of both beneficiary and audience experience, enriching peoples’ lives further and improving quality of life. The project is the first of its kind as it will offer a new music therapy center that is closely linked with its surroundings. Established in 1992, Sunbeams Music Trust deliver their 'Music for Life' program to tens of thousands of needing members of society each year and were eager for a home. The natural fall of the site allows the structure to become entrenched, maximizing passive thermal benefits of the earth. Outdoor venues around the building will provide a tranquil atmosphere for group work and performances.

Figure 33

Figure 34

The architecture is intended to reflect synthesis between the natural context, a contemporary vernacular and musical union; housing several unique functions it is also importantly an outward facing advert for the charity.

Figure 35

It is shaped along the curved natural contours (Figure 36) it grows with a crescendo at the canopy to the eastern main entrance. Inserted along the rhythmical elevation are a series of playful introverted volumes housing key activities. This shape creates a large, open entrance area, which is sheltered beneath a wooden canopy.

Figure 37 Site plan

Figure 36 Eastern elevation

The main activities are housed in three lozenge-shaped pods that protrude from the front of the building. Clad in cedar shingles and topped by a green roof, the volumes decrease in size along with the width of the building. and a carefully calculated area of louvres is used to create interest in the deep facade.

Figure 38 Southern elevation

The geometry of the building is unconventional, again the curves draw on Steiner thinking. But there is a lot in here, like the ‘columns’ (to avoid collisions with the doors) lined up and doubled up Aalto-style. There are parallels with Gareth Hoskins’ Robin House Hospice in Loch Lomond and the Trossachs National Park – in the situation, the timber and reaching out into the landscape. And Will Mawson has enjoyed a little structural play that enlivens the larger spaces. A composition of glulam and steel ties bisect a circular roof light in the largescale foyer; there’s an almost musical play of columns on an equally generous canopy, which continue as harmonious sounding posts dotted around into the garden beyond. A vibrant planted wall at the entrance between the two is unexpectedly magical for a draft lobby.

Figure 39 Sections

31 Figure 40 Detailed section

Figure 41 Entrance canopy

The windows provide views and doors to the garden in front. These openings are carefully sized to limit overheating but enable natural ventilation and light.

Figure 42 Windows

Figure 43 Plan analysis

Performance, recording, training and therapy spaces, inward - looking solid volumes allowing an absence of distraction. Surrounding spaces provide naturally - lit, uplifting vistas for mental stimulation and the skylights line either side of the roof, while the concave walls are clad in oak panels to optimize the acoustic effect. (figure 44). The reception desk formed around the music signature of a harp.

Figure 44

Figure 46 Skylight

Figure 45 Reception desk

Materials: External envelope materials are primarily slate stone clad spine walls with an oak faรงade to the main curved elevation, a series of lozenge shaped cedar shingle clad volumes all topped with an extensive green roof. In the interior, Glue-laminated timber, known as glulam, was used to build used for the main structure. Manufactured by layering up multiple slices of wood and gluing them together, this engineered wood is significantly stronger than regular wood, allowing for large spans and irregular shapes.

Figure 47 Materials

Figure 48 Interior materials

Therapy rooms details

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The Glassical Hall It is the most versatile space at The Studio. Aside from the visual impact of its oak paneled walls, and the controlled but fairly lively acoustic, it includes a well-maintained baby grand piano. Its size makes it ideal for recording choirs, orchestras and bands that love to play live but who need eye contact and physical separation.

Dimensions 12.5m x 8m with ceiling at around 4m. That can take an audience of 120 but also works for a smaller ring of children, parents and musicians or for dancers along the barres at the end.

Figure 49 Glassical hall interior shots

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Yasmin’s Room It is the primary recording room in The Studio. A classic space, with wooden floor, low level oak paneling and a floating ceiling it provides an equal and controlled sound.

Dimensions 5.5m x 4.5m with ceiling at around 3.4m

Figure 50 Yasmin’s room interior shots

•

Tom’s Room It is the second room at the studio. With a floor of grass and a glass ceiling, this room is perfect for blue sky tracking and brighter sounding flights of fancy. The natural light provides a welcome contrast to many experiences

Dimensions 4.5m x 3.5m with ceiling at around 4m

Figure 51 Tom's room interior shots

•

Other interior spaces

Figure 52

Figure 54 Owner's office

Figure 53 Kitchen

There is a strong sustainable agenda to the design based on first principles; the six hundred square meter Sunbeams Music Centre is predominantly naturally ventilated, naturally lit and the heating provided by ground source heat pump.

Figure 55

U-values are to passivhaus standards with a large amount of locally sourced sheep wool and carefully designed south facing elevation to limit overheating. All materials are sustainably sourced and from as local a source as possible.

Figure 56 Sustainable design analysis

CASE II: NORDOFF ROBBINS MUSIC THERAPY CENTER

Project data: − − − − −

Architect: Bradley Van Der Straeten Area: 1950 sq. m Location: Gospel oak - London / UK Year: 2017 Concept: Create a distinctive place that captures the vitality of the therapy and allows clients to express themselves in a safe and nourishing environment.

An award-winning refurbishment of the world’s largest purpose-designed music therapy center for Nordoff Robbins in the Hampstead area, housed within a 19th century substation. The design utilized a fun material palette deliver an exciting new identity for the charity.

Figure 57

Interior spaces:

− Exemplary music therapy rooms − Multi-purpose group space − Open plan office area

The ground floor reception will be further reflective of the charity's ethos of being open and inclusive. Lots of clients that visit the center are vulnerable individuals and therefore it is important that they enter a building that is relaxing and easy to navigate. The reception will be a bright and open space with prominent signage. The branding and material palette surrounding the space will ensure that as a visitor you are aware that music is at the very heart of this building.

Figure 58 Interior open plan

In contrast to the open plan space in the reception area and offices, the two main therapy rooms will evoke a sense of the monastic. Simple, and stripped back the rooms will ensure that the music and therapy are the focus of any inhabitants. Curved natural timber walls gently embody the space, ensuring that there is a sense of warmth and security for clients. Light floods the space through strategically placed windows instilling the room with a positive energy. And to ensure a world class sound and enough privacy for therapy sessions, BVDS has worked closely with an acoustic consultant who has used his expertise to engineer some of world's best recording studios.

Figure 59 Interior Music therapy rooms

CASE III: HEALTH CARE FACILITY JOSEFHOF

Project data:

− Architect: Dietger Wissounig Architekten − Location: Graz, Australia − Area: 13500 m2 − Year: 2019 − Vision: The essence of a place that aims to create an atmosphere of harmony between nature and people. − Concept: The design is based on an orchard meadow typical for the region. Three narrow, elongated structures are set into the arena-like topography in such a way that the building sometimes appear to hover over to be embedded into the terrain.

This project weaves the building into the landscape. The landscape flows through the building. Atria reflecting the planted orchard meadow underline this creative objective. Views of the Schöckl mountain and surrounding hilly forests and meadows are the primary influence for the space allocation plan at Josefhof. The entrance area, dining rooms and bar offer a view towards the south and north. The underlying structures are staggered so that the roofs are level with the heel of the parapet of the building above.

Figure 61

Figure 60

Figure 62 Site plan

Between the structures, the natural topography of the landscape is allowed to continue. All rooms have a clear view of the cultural landscapes. The seminar area and the busy primary care clinic offer not only beautiful views, but also an unobstructed ground level exit into the natural space.

45 Figure 63 Sections

Figure 64

Starting from the reception hall, all areas are barrier-free and quickly accessible. (figure) The simple, compact structures impress with windows that, contrary to the faรงade, are shielded from most direct sunlight. The optimally insulated faรงade and shady atria work towards the energetic requirements. The load-bearing structure of the building is reduced to an economical and highly economic way of building, which allows for a very high degree of prefabrication.

47 Figure 65 Plans

A selection of high-quality materials is used in this clear composition. The utilization of materials that are as natural as possible, non-toxic and derived from renewable raw materials as well as the sparing use of in-situ concrete and plastics is our commitment to today. The building technology concept follows a low-tech approach. Preference is given to natural shading and ventilation solutions.

Figure 66 Martials and interior shots

CASE IV: LINDE CENTER FOR MUSIC & LEARNING

Project data:

− − − − −

Architect: William Rawn Associates Area: 2230 Sq.m Location: Lenox, US Year: 2019 Goal: Promote a sense of community with special consideration for a discreet and harmonious rapport with the surrounding landscape while resecting the scale of existing campus structures. − Concept: Addressing the myriad of program requirements by envisioning the solution not as a single building but as a series of pavilion studios that engage the landscape, including a century-old red oak tree.

The complex of pavilions consists of three dedicated performance studios ranging in size to accommodate 40 to 270 participants, from soloists to a full orchestra. Two of three studios feature retractable glass walls, opening the performance space into a serpentine walkway connecting all four buildings. The fourth operates as a daily café for up to 150 people (plus room on the patio for approximately 50 more seats), also with a retractable wall of glass, providing views of the pastoral landscape and making physical connections to the larger campus. The four new facilities that comprise the Linde Center bring the total number of campus-wide public performance venues to eight.

Figure 67

The project is a family of three boxy western-red-Ceder-clad performance studios with zinccoated copper standing steam shed roofs and a low-slung cafeteria, linked by a serpentine covered walkway. Sitting atop a ridge that runs across the campus.

Winding walkway links the studios at their front ends, creating a community out of the discrete, intimate space.

Figure 68 Plan analysis

They aimed to create opportunity to engage the landscape in different ways, including the spaces between programmatic elements, so users could experience the joy of passing through the landscape as you went room to room.

Figure 70 Landscape between studios

Figure 69 Cafeteria and the big Ceder tree

Materials -

Shed roofs, which enable the optimal ceiling height, with more compression over the stage area. The volumes are scattered on the site, rather than aligned. Glazed lower ends of the studios to create a dialogue between outside and inside and between the people occupying these spaces and the spontaneous audience that can materialized from passersby.

The studios within the complex are trapezoidal, their sidewalks splaying away from the performing area to push the sound out into the room and allow the abundant use.

Figure 71 Studios interior

Figure 72

CHAPTER 4: Pragmatic thinking approach

Functions 1. Therapy rooms space Performed as a multipurpose room with two types, Private for the individual therapy and Multiple users’ rooms that are for group therapy. Has multiple instruments including a piano, fully sound proofed and has recording facilities. The space also contains assessment rooms for pre-therapy. 2. Meditation space Secluded to create truly intimate atmosphere inside to induce a similar mental space: one that is a total togetherness of architecture, the body, and the mind. 3. Cafeteria A small restaurant is inserted to serve the clients either daily reviewers or residents. 4. Clients ward Consists of dorm rooms and the other auxiliary functions such the Library and Gym. 5. Administration

The physical environment of music therapy influences the music therapy protagonists and the therapy process. The aim is to look into the relation between people and space. The revealed interdisciplinary findings offer a multi-perspective on the present topic and serve as basis to establish music therapy room’s atmospheric parameters. A mutual interaction between people and space can be acknowledged. The music therapy room’s atmospheric parameters include the room’s characteristics, lighting, temperature, odors, colors and the room’s design, arrangement and equipment. Considering some important topics for music therapy, like soundinsulation, the seating arrangement or the therapy room’s possible function as a safe place. It becomes obvious that the influence of the music therapy’s environment is taken as self-evident in music therapy literature.

Spatial visualization

Figure 73 Spatial visualization

Program Table 1 Project program

Bubble diagram

Figure 74 Bubble diagram

Theoretical introduction to the conceptual approach

This project aims to enhance the experience of living in harmony with the force of nature. Bringing the qualities of interaction design to identify the intangible dynamics of everchanging architectural space with the force of nature. “Harmony in architecture”. Plan seemingly invisible interactions between built up place, nature and space. Harmony in different cultures had various definitions but in general the basic remains the same, all things on this earth display a certain level of harmony with each other. The concept of this project depended on the term “Harmony” that I oriented into 3 directions: 1. Connection between opposites Chinese philosophies of harmony were to create a good and peaceful relation between humans and nature. The meaning of the Yin and the Yang form the Chinese philosophy refers to all opposites that combine on earth. Nature had connected its opposite together such as hot and cold, light and dark, male and female to create a collection of harmony within a balanced system. The Taoist religion uses the symbol of Yin Yang to express their philosophy of life: harmony through dynamic balance between life and nature. Following this concept will bring happiness and harmony between life and nature (Courtney and Young Lee, 1997, p. 15). The basic idea is that environment is part of people lives and it is a concept of harmony on its own. This is the reason way Feng Shui plays this part in the Chinese philosophy that is governed by spatial arrangement and organization of things in relation of the yin and the yang theory. Creating a positive feeling in people’s homes will complete the feeling of happiness. It is the reflection of a special energy within a space by taking into consideration the placement of object or forms in a manner to allow a harmonious energy flow. This energy will help to improve life by bringing positive feeling within the space. 2. Connection with nature Japanese design study the connection between man and nature. To keep nature within our living spaces, it is essential to incorporate design into nature and nature into design. Japanese design is meant to integrate and take in consideration the nature that surrounds it. Their design philosophy is that human must not destroy the relationship between him and nature. This is the reason behind the fluidity between the inside and the outside as seen in Japanese architecture. The integration within the natural environment is essential.

3. Musical Structure the Greek interpretation of harmony comes from the musical sound that a melody can produce. The basic meaning of harmony in the Greek philosophy comes from music. Music notes were perceived as an overall support to the melody. The musical harmony is made of different parts and each part is related to other part. They all contribute to the formation of a complete melody (Cheng 2009, p11-12). The overall sound the instrument produces is transformed in a beautiful melody that brings a pleasant sensation to the ear. From this interpretation of harmonious sound, the Egyptian philosopher Pythagoras who was a mathematical genius had defined harmonious sound as mathematical equation. Moreover, harmony was applied to sound and forms. The relation between harmony in music and architecture came from the same word â&#x20AC;&#x153;baitâ&#x20AC;?, which means build and rhyme (Gadalla, 2003, p. 15-16). Architecture and musical harmonies are both based on mathematics. Hence, music is a geometry that is translated into sound and in the same way architecture is a geometry that is translated into proportions.

Accordingly, to these general definitions the main objective of harmony is the fusion of parts together to obtain a whole. This concept of ideas will be the basis expression of how design can bring harmony into spaces.

CHAPTER 5: Conceptual Approach and Design

ATARAXIA: A state of freedom from emotional disturbance and anxiety. Pursuit of tranquility, harmony and peace of mind.

Concept: The perception of harmony in design can be defined as a combination of visual elements that will create a perception of beauty. This perception will bring a unique design on creating a pleasant relation with each part of the space. The relationship of proportion through natural elements is observed and applied to design. These expressions of harmony will define the beauty of the design. The whole idea of the theory of harmony in design is the need to integrate the design to its environment. Thereâ&#x20AC;&#x2122;s three aspect that has been considered: 1. Nature The tree energy: the constant meditation of the trees with subtle energy. Their roots go deep into the ground to connect with the earth. 2. Music The experience of music and space connecting with the users: Connect the musical theme into the existing landscape and bring the landscape into the building. Use space as a means to articulate the complexity of the musical language and enhance the sensors experience of sound. 3. Architecture A threshold to the vision of unspoiled natural beauty. Application:

1. Connection between opposites Connect the opposites to create a collection of harmony within a balanced system.

Silence & Music Control & Freedom Architecture & Nature

2. Connection with nature Fluidity between the inside and the outside

Preserve the connection between man and nature. Integrate and take in consideration the nature that surrounds us. Keep the nature within our living space.

Figure 75 Marais garden wall/ Michelle Sketch

3. Musical Structure The musical sound that a melody can produce

Music notes (The overall support to the melody). Different parts (Each part is related to the others) Music as a measurement of distance and vibration.

Analyzing the “Chopin - Nocturne op.9 No.1” The choice of this nocturne was based on it’s rhythmic freedom that came to characterise Chopin's later work.

The opening section moves into a contrasting middle section, which flows back to the opening material in a transitional passage where the melody floats above seventeen consecutive bars of D-flat major chords. The reprise of the first section grows out of this.

59 Figure 76 Transcription of Chopin's Nocturne op.9 No.1

FORM DEVELOPMENT The form was initially started from dominating the main functions over the slightly sloped site. 1. Dealing with the land and the site: The contour of the site remains the same (without cut and fill). 2. The building formed to protect the large trees. The trees are the project interface and a major part of the project not an auxiliary component. 3. Melody structure. Initial visualization of masse on the site

Figure 77 Initial visualization of spaces on the site

MORPHOLOGY

Figure 78 Morphology

CHAPTER 6: Final Design

1.SITE PLAN

Figure 79 Site Plan Scale 1:800

2.MASTER PLAN

Figure 80 Master plan scale 1:800

3.MAIN SECTIONS

Figure 81 Section A-A

Figure 82 Section B-B

Figure 83 Section C-C

4.SUB-SECTIONS

Figure 84 Sub-section showing the suites, the overlook and the lobby area

Figure 85 Sub-section showing the Therapy rooms, gym, and meditation overlook

Four sub-sections passing through the main functions. Suites & Meditation overlook, Lobby & Restaurant, Therapy Rooms & Court, Gym & Meditation overlook.

5.ELEVATIONS

Figure 86 Northern Elevation

Figure 87 Southern Elevation

6.MATERIALS & STRUCTURAL ANALYSIS

The exterior includes materials of: • • • •

Steel Natural stone Glass Aluminum Cladding -

The steel creates the structure that supports the floor and ceiling slabs. They are composed of concrete, along with radiant coil set in the floor used for heating purposes. The Glass, Enhance the integration with nature by keeping the inhabitants in touch with nature. Using a sound-proofing glass to prevent the sound from making disturbance between music functions. The Aluminum cladding to enhance the artistic effect of this building. also, to improve durability and reduce the maintenance costs.

CHAPTER 7: Dimensional illustrations & perspective

Exterior Shots

Figure 88 Shot1 from north west showing the suites and the other functions

Figure 89 Shot2 showing the whole project

Figure 90 Shot3 Showing the lobby from restaurant outdoor space

Figure 91 Shot4 Showing the Main Entrance

Figure 92 Shot 5 Showing the Activity outdoor space

Figure 93 Shot 6 Showing Therapy court

Figure 94 Shot7 Showing the outdoor hall of the gym and the amphitheater

Figure 95 Shot 8 Showing the Services entrance & Restaurant

Figure 96 Shot9 Showing the outdoor halls for both individual & group therapy rooms

Figure 97 Shot9 Showing the outdoor halls between Suites

Figure 98 Shot 6 Showing the Meditation overlook from inside

Interior Shots

Figure 99 Shot 11 Showing the amphitheater outdoor space from the restaurant

Figure 100 Shot 12 Showing the interior lobby space

Figure 101 Shot 13 interior hall

Figure 102 Shot 14 Individual therapy room

Figure 103 Shot 15 Group therapy room

Figure 104 Shot 16 Group Therapy room

Figure 105 Shot 17 Interior space of Suite

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