During history, the interrelation between music and architecture has been a frequent exploratory question. Two arts, the composition of which often channels and interacts  both in matters concerning the emotional and spatial perception of man. While, ostensibly, these are two completely different forms of art, they share an intersection point in their mathematical basis and the rhythmic proportions that derive from it. In the present thesis, an attempt is made to clarify the relations between the two “arts-techniques” , as to their notational coincidences, that is, their similar methods of writing, and their coexistence is highlighted through musical and architectural examples. An important basis for the achievement of the aforementioned is the work of the musician and architect, Iannis Xenakis, who with his research and applied music and architectural production, either individually or in collaboration with the architect Le Corbusier, managed to propose unprecedented and unexampled public aesthetic episodes, investigating the properties of abstraction and the emergence of rhythmic structures in space. The subversive Xenakis appears as a composer who "builds" sounds; he makes and calculates them, focusing on every detail that will be included in proportion to the final vision. He devotes his time, exploring and expanding the basic principles of music and engineering, composing incessantly. Freed from the synthetic norms of the time, he takes the risk of experimentation, something that was strongly disputed and criticized by many. Ultimately , however, the unusual encounter of art and science highlighted the unlimited power provided for incessant creation. Xenakis composes until his last moments, leaving behind a rich will of works with enormous experimental value that offers infinite opportunities for research and learning.