Here the piano and vocal score for O Come To The Altar has been used as starting point for a conceptual thought. My scheme highlights the importance of music in worship, therefore I intend to establish a unique and beguiling relationship between architecture and music through my design. Concealing music within the architecture will give it an ethereal quality – the Conservatoire will be a place where you are caught in this musical dialogue, but never converse face to face. The source is hidden, yet sometimes revealed.
The music is living, it is boundless; and it is constantly encountered.
My initial thoughts were to attempt to suggest the concept of hidden music through mark making – by scratching out the musical notation.