The architectural concept evolved from a drawing done by assigning a colour to each instrumental part of the musician-client’s song 'Lighthouse.'
I transcribed the piece, which has a simple 4/4 rhythm (four beats per bar). Despite this rhythmic simplicity, the song is played with a jazzy swing, articulated by the rhythm of the double bass/cello part which acted as the spine, or central axis upon which the piece expanded on.
Driven by the idea that 'architecture is frozen music', the double bass/cello part's rhythm was equated with spatial progression and a sense of entrance, and solid and void spaces were arranged along a central axis divided into a grid upon which the 4 beat rhythm was mapped. Thus, the double bass/cello motif was directly translated into spatial terms.
Through the process of transcribing the composition, 'Lighthouse,' into musical notations, a visual representation of the rhythmic structure emerged. Guided by this rhythmic tapestry, the initial drawing served as a foundational blueprint, shaping the arrangement of the remaining spaces within the dwelling - namely, the living area, kitchen, bedroom, and studio. A well-defined hierarchy of spaces took form, with the music studio assuming a paramount role, embodying the primary space that reverberates with creative energy. Nestled in significance, the living area took on a secondary importance, while the performance space occupied the tertiary position, thoughtfully positioned to embrace captivating vistas that overlook the expanse of the steep, wooded terrain.
The design was carefully crafted from a geometric standpoint to circumvent local winds and provide a glazed thermal buffer against the cold.
The house has a unique response to the street owing to its performance space. Rather than integrating with the neighborhood, the facade intentionally stands out, rendering the spot a memorable community gathering point when performances are held while integrating it with the wider musical community of the area.