The landscape is naturally dramatic. A hill slopes at an angle of approximately thirty degrees towards the Mediterranean Sea in a climate both mild and dry. The house should respond to this site by echoing its movements and character. The language of ascension and descension, the actions of climbing and resting, the experience of exposure, expanse and focus: all of these should inform the appearance, structure and circulation of this modest dwelling. The house should not be denied its objecthood, however, with attempts at camouflage. It is, like its musical inhabitant, both a private and a public creature with simultaneous desires for retreat and disclosure. It should fit its milieu (as chamber music is appropriate to a Sunday afternoon) but it should also announce itself as an individual (as each pianist does with a particular mood or flourish.)

The form of the house should be determined by one definitive gesture, around which its other elements will be organized. This gesture will serve as a mechanism to record the movements of a body in the landscape of house and site at once. It should be integral to the definition and access of the house's internal spaces without being confined within them. And it should closely follow the geography of the site so as to afford a continuous and external passage through it.

Symmetry and order should characterize the scheme. The central element should divide the house's functions, polluting them at intervals. And these functions will be emphasized with regard to interior and exterior space equally. For each enclosure there will be a corresponding exposure, for each retraction a projection. The ordering principles of music may actually appear to inform the building. It may indicate movement and a loose meandering between dominant and tonic themes. Melodic progress and change may be indicated by level changes or by the tension between places of rest and activity. Further, the house may take cues for its form from printed music or a musical instrument; its elements may be taken as notes and bars or as frets and strings.

The building's main focus will be the sea. Its facade should thus be oriented towards the southwest, and all activities, including those of arrival, should be pointed in that direction. Because the house will have a decidedly exterior focus, it will be necessary to provide areas of escape from the hot sun and the inexhaustible horizons of sea and sky. Some views to the sea will thus be open and grand. Others will be minimized and even photographic.

During the day, light should be brought into the house. At night, light should emanate from its very core. The materials of the house will allow for these illuminations. Substance and space should catch and reflect the sun but also permit the transmission of interior light to the building's exterior. Light on the house will turn its attention inward. Light from the house will describe its exterior life, its geometries and silhouettes. When night has fallen and the sea is black as ink, most foreboding and mysterious, the house will twinkle and play against it, sending the voices of people and violins out into the hillside and the sea. And at dawn, the house will receive rather than transmit, making room for practice, contemplation and solitude.