The architectonic workmanship is the synthesis of the volume that defines 3.rd dimension, but the pathway for the artwork raise-in oneself for 4.th dimension - the time, emits sound or sonorous pause, this also of musicality but without sound.
Music moves only in one direction that runs through this 4.th dimension, freely or syncopated, rhythmic or arrhythmic. Creates an auditive texture which gives an sequence of full and empty defining what human sensibility considers music. If this feeling is transposed to any kind of written music, it results in a linear design, music paper after music paper with the logic of sequence of a work of art. This linear design creates one or several graphic textures that translates (each according to one interpretation) a music texture (tessitura).
The texture is, however, a transversal element to human sensibility, either to touch or hearing - can be soft or melodious as well as rough or inaudible. This texture is a key element to the characterization of the object, since the formation of the human body in which, still in the womb, seek comfort as the thumb, until the moment when that deliberately understand some of its complexity and deconstruct their natural order in search of other human-made orders. Always lived of this commitment the complex human mind, which is never satisfied with the simple fact that only exist or simply co-exist.
In this context both music and architecture converge in order progressivist vision of space and time, combining elements of full and empty that make up a coherent whole of sound and silence that results in a harmony. It is the reason why that only the rhythm comes alive with texture and both make up the piece of music and architecture.
And the music or the work are nothing more than the juice of harmony between pauses and melodies or between full and empty - which create the spaces that we identify with and live with, probably more happy.