Architecture and music according to Libeskind need memory to connect the past with the present and the future, and that is something that unites them. Another point is that music is accurate and so architecture must also be.
“You cannot describe in about, a musical piece, you have to be specific,” he says, comparing a sheet music and a floor plan. [Helen Wallace, 2007]
In his speech in 2002 [BBC], Libeskind mentioned the myth of Orpheus, who when he played with his lyre in a wild and desolate place, the stones created a perfectly beautiful city. “It was not that music made time to roll faster, so it seemed like it was fast,” he said, “No, I really think that the music echoed on the stones and changed the composition and the space they surrounded”.

Music at the Jewish Museum

When Libeskind designed the Jewish museum in Berlin, he constructed three different models for it, hitting each one with a sonic blast. “I turned them into organs and listened to their tuning to find the music”. For Libeskind, the acoustics of a building are not just part of the process: “It’s the dimension of orientation. I always believed that without music, the architecture would die of suffocation, and without architecture the music would have no possibility. “[Helen Wallace, 2007]
At the Jewish Museum he wanted to find a way to refer to the violent detachment of Jewish culture from German life. Libeskind describes how he imagined this split: “I thought the museum should be cut off by something I call the gap”. [ Alessandra Capanna, 2009]

III.3. Steven Holl: Music as a Method

Ideas from different disciplines, as an inspiration for architecture, have been offered to us by Steven Holl. In particular, the transfer of elements from music to architecture has been pursued and implemented in Stretto House. Steven Holl used the elements of tonic continuity / discontinuity as material for this building.
According to Alessandra Capanna’s analysis [2009] Stretto House uses the rhythmic and spatial analysis of the concert: “Music for String Instruments, Percussions and Celesta”, one of Bela Bartok’s most important creations. The composition consists of four parts and shows a clear distinction between heavy, discontinuous percussion and lighter and streamlined strings. Similarly, the building also consists of four distinct but related parts.
One of the most interesting parts of the track is the stretto technique, which is used to move the fugato theme entrances until they are identified at the end of the track. During the track, the fugato style manifests itself with a constant trend of increasing the intensity (crescendo) to the entry of the celesta, from which begins a continuous sharp decrease of intensity (diminuendo) to the finale. Here the subject is presented with an imitation of reverse motion at the original rhythm. Respectively in Stretto House we see a corresponding time and spatial course.
In Stretto House the faces are between the 21+13-foot cement blocks that are typical numbers o