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ARCHITECTURE70
The Order of Sound
BOTH OF THESE VISIONARY DRAWINGS o c c u p y a s l e n d e r , been a natural affinity between the visual rhythms of
pictures and the audible rhythms of music. We can see, and
upright pictorial space. The architect and musician Daniel in a sense hear, such a rapport in both of these drawings.
Libeskind has drawn a stampeding cacophany of airborne Libeskind begins quietly in the upper space of his drawing,
architectural detail, while the composer Erik Satie has made before cascading into a riot of line and sound below. Satie
an enclosure of quiet order and grace. Both men used rulers draws quietly throughout, and the spaces between his
and pens to carefully and slowly construct their compositions. windows and turrets are the visual equivalent of pauses in
Contemporary musicians commonly collaborate with h i s m u s i c c o m p o s i t i o n s for p i a n o (see also Bussotti, p.223).
artists by interpreting images as sound. There has always
DANIEL LIBESKIND
A Polish American architect
of international acclaim.
Libeskind's numerous
commissions include concert
halls and museums. He also
produces urban and landscape
designs, theater sets, installations,
and exhibitions of his drawings.
Libeskind studied music before
transferring to architecture. He
also contributed to plans for the
rebuilding of the World Trade
Center site in New York.
Floor plan This drawing has
been made with a rapidograph, a
refillable pen that feeds a constant
supply of ink through a fine tubular
nib. Across the top and center right
of the image w e perceive an almost
recognizable architectural plan.
Floor space appears divided by
discernible walls, corridors, and
rooms, and arched dotted lines
depict the radius of doors.
Visual rhythms In the lower half of
this drawing architectural language
has broken loose: escaped and
transformed into an image of
rebellious pleasure. We can imagine
how a musician might interpret this
drawing by looking at the abstract
visual rhythms of masses composed
of long straight poles, short curved
poles, flat boards, and dotted lines.
Arctic Flowers
1980
DANIEL LIBESKIND
