e musical pieces, often referred the architects and are not always very clear, but the need arise to rely on the author’s words, which are usually full of poetic references. This makes the analysis process difficult and inaccurate. In Steven Holl’s building, it is necessary to simultaneously listen to the piece and to read the sheet music and the drawings.

III.4. Peter Cook: Music as an image

Peter Cook has drawn his designer experiences from the historic Archigram group. In the early 80’s, he participated in the process of graphically transferring the violin concert of Ernsest Bloch to the composition of an ideal city. [Alessandra Capanna, 2009]
“A simple exercise was the performance of a violin piece by Ernsest Bloch. I didn’t know the piece, but his writing seemed tempting. The notes became towers, pentagram streets and partitions became walls”. (Cook 1992)
The notes of the pentagram determined the position of the tall, cylindrical shape of skyscrapers, while the musical lines are the urban streets of the “street of the forerunner”. (Cook 1985)
For melody, the extension of the note is theoretically infinite, and takes on the role of smooth sound expression, offering a way in space for the time to complete the musical experience. The spatial and rhythmic cohesion are expressed as an evolution of the perspective of representation, you are perceived as a succession of events. Instead of an empty space, the road is the urban link that gives the feeling of continuity even with the presence of intense transversal elements. The streets of this city consist of three parallel pentagrams cut diagonally by a quarter, which implies: the existence of another external system, and the representation of all the polyphonic volume of an orchestra.
Cook strongly argues that “musical sequel” and “architectural sequel” have the same character: corresponding graphic elements, same expression elements, same editorial coloring. [Alessandra Capanna, 2009]
The dividing lines of the measures are represented as bridges. These separations define music and time in architecture and space. The notes are interpreted as towers. Indeed, in this piece, full of chords and trillions, the notes are the harmony of the piece. Unlike the horizontal movement of the melody, the tall buildings give the vertical tinge of harmony.
This fact has been very well expressed in this work where the towers, whose notes are so played, have a different shape than others: their cross section differs.

IV. Conclusion

The aim of this dissertation was to study the relationship between music and architecture with a more rational and realistic approach. The connection is initially through the study of the nature and structure of the music, as well as the ways of its transcription into an image. It examines the way in which music has been used as an inspiration or design by architects, but also the inverse, that is the transformation of the image and space into music.
Through this, some interesting conclusions were made both in terms of music and architecture and